Skip to main content

Full text of "The poetical works of William Drummond of Hawthornden, with À cypresse grove'"

See other formats

®I?? Stbrarg 

of tit* 

lutwrfitty nf 2faril? dJaraltna 

EnftntuFb bg ®lj* fltaierttr 










K3, 1913b 
v. 1 



.»«.. i 

This BOOK may be kept out TWO WJ v 
ONLY, and is subject to a fine of FIV 
CENTS a day thereafter. It is DUE on 
DAY indicated below: 

f? i 4 2010 
JAN 9 1S|96 sep 

S — . 

JAN 16 


DEC 9 2010 

• ■ 

5 2611 

\PR 4 2012 

~;i 2 4 mt 

SEP 1 ?mn 

7 2WI 

Digitized by the Internet Archive 
in 2013 


No. V 






Sherratt & Hughes 

Publishers to the University of Manchester. 

Manchester : 34 Cross Street. 

London : 33 Soho Square, W. 

Agents for the United States : 

Longmans, Green & Co. 

New York : 443-449 Fourth Avenue. 

jt> CuTb 1><^ ./> H*jL> 

S o %*£ erf-, 6 $- /aj^> Jt* 




William Drummond 

Of Hawthornden 

With i <A Cypresse Qrove ' 

Edited by 

L. E. Kastner, M.A. 

Professor of French Language and Literature 

Volume the First 


At the University Press 

i9 J 3 

University of Manchester Publications. 

All Rights reserved. 


Bbolpbue William Warb 



Preface ....... 


Introduction ...... 


Bibliography ..... 


List of Illustrations ..... 

. xcvii 

Poems in Commendation of the Author 


Alphabetical Equivalents .... 


Poems : The First Part .... 


Poems : The Second Part .... 


Teares, on the Death of Mceliades 


Epitaph ...... 

• 83 

, Vrania, or Spirituall Poems 


Madrigalls, and Epigrammes 


Forth Feasting ... 

. 141 

Notes . . . . . 

• 157 

Index of First Lines . 

• 249 



In the present edition of Drummond's poetical works 
we have set ourselves a threefold task. First of all to 
present a trustworthy text according to the original 
editions, accompanied by a complete record of the 
variants, 1 with the object mainly of illustrating the 
mutual relations of the various editions, including the 
posthumous one of Phillips and the folio of 171 1. The 
nearest approach to a trustworthy text is to be found in 
the Maitland Club edition, of which some sixty odd copies 
were printed early in the nineteenth century for private 
circulation. This edition has now become excessively 
rare, and far in advance as it is of all those that have 
preceded or followed it, as regards the text, it leaves 
altogether out of account the variants of the original 
editions and of the two most important posthumous 
editions. We decided for obvious reasons to fill this gap, 
and in the course of collating the several texts we were 
rewarded by more than one interesting trouvaille, of which 
perhaps the most important is that the first part of 
Phillips's edition is not based on the 1616 edition of the 
Poems, as has always been thought, but on an advance 
issue, printed in 1614 or 1615 by Drummond for circulation 

1 It goes without saying that, save in a few exceptional cases, we 
have not recorded differences in spelling. In the notes, at the foot of 
the page, the spelling given is that of the earliest edition where the 
difference appears. 



among his friends, and probably communicated either to 
Phillips or to the London publisher by Sir John Scott 
of Scotstarvet, Drummond's brother-in-law. This curious 
issue of the Poems has remained unknown to all editors 
of Drummond's poetical works since Phillips's day, and he 
himself has given no clue whatsoever of his having utilized 
it in preference to that of 1616. Its contents, which 
differ materially from the regular edition of 1616, are 
reproduced exactly, and in the same order, with two 
insignificant exceptions, by Phillips, so that the charge 
levelled against him of having unduly tampered with the 
text of Drummond will in future have to be considerably 
modified. Further, the belief that he was the first to 
publish certain pieces, which figure in his edition but are 
wanting in the ordinary edition of the Poems (1616), will 
have to be abandoned. 

We have likewise diverged from the Maitland Club 
edition in the matter of punctuation. In that edition 
the punctuation is modernised. We have adhered to 
Drummond's own punctuation, not only because it would 
be difficult to imagine any writer bringing greater care 
to the revision of his text, but also and principally in view 
of the fact that his punctuation was based on rhythmic 
rather than on logical considerations. It is a risky 
proceeding to interfere with the settled punctuation of a 
poet of any period, and more especially of that period — 
to modify it in any way in the case of a poet whose reputa- 
tion must ultimately rest largely on the rhythmic qualities 
of his verse becomes a positive injustice. 

In the second place it has been our aim to complete 
and extend the work, so ably begun by W. C. Ward, of 
tracing the Scottish poet's indebtedness to foreign models. 
In that field Ward has confined himself almost exclu- 


sively to the Italian sonneteers. While showing that 
Drummond's debt to the Italians was still greater than 
made out by Ward, we have been able to prove that the 
Laird of Hawthornden borrowed almost as extensively 
from the French poets of the Pleiade, and also that he was 
one of the few poets of his day who wrote in English to 
have more than a passing acquaintance with Spanish 
literature. Though we are not inclined to attach undue 
importance generally to these borrowings, at a time 
when all sonneteers were following more or less a vogue 
begun in Italy soon after the death of Petrarch, and for 
which they had a justification in the practice of the Italian 
sonneteers themselves, it is undeniable that Drummond 
went a good deal further in that direction than the literary 
morality even of his day allowed. His loans are so 
numerous and so great that his poems, more especially 
the sonnets, can hardly escape the reproach of betraying 
that " want of inward touch " which Sir Philip Sidney so 
justly addresses to all Petrarchists in general. In any 
case Drummond's imitative habits must play some part in 
estimating his poetic rank, and because they are here 
for the first time pretty fully revealed, it did not appear 
irrelevant to attempt a presentment of him in that light 
in a short introductory essay. 

In the third place we have endeavoured to draw up a 
full and complete critical bibliography of the early editions 
of the Scottish poet's works in verse, all of which are 
of extreme rarity and many of especial interest. In 
that particular we think we can claim to have covered 
new ground, and to have added some not unimportant 
facts to a certain aspect of the subject which, generally 
speaking, is apt to become monotonous and to interest 
the specialist alone, but to which, in the case of our author, 


unusual interest attaches owing to his peculiar habits in 
all that concerned the issue of his books. 

We have also made it our business to examine afresh 
and very carefully the Hawthornden Manuscripts. Such 
an examination became all the more necessary when we 
discovered at the outset and to our surprise that not one 
of the editors of the more recent editions had paid any 
attention to the manuscripts, and that Phillips and the 
editors of the folio edition, who undoubtedly had access 
to them, had taken liberties with the text of Drummond 
which could not be allowed to pass unnoticed. By so 
doing we have been able to improve materially the text 
of the posthumous poems, and to add to the present 
edition a not inconsiderable number of unpublished 
pieces. Few of these pieces, and this is true of nearly 
all the posthumous poems, can be said to have much 
intrinsic value. They are of considerable importance 
however in the light of Drummond's poetic development, 
presenting him as they do at an early stage of his career 
when Scotticisms still flowed readily from his pen, and 
when he had not yet attained that mastery over the 
standard English of his day for which he strove so hard. 
For that reason mainly it appeared necessary to reproduce 
the posthumous poems exactly as they stand in the 
Manuscripts. 1 

Lastly, we have spared no pains in investigating the 
question of the Drummond portraits, and helped by 
the discovery of a new portrait of the poet, we are 
not without hope of having shed some light on this 
intricate problem. 

1 In the Manuscripts punctuation is almost entirely lacking. We 
have added punctuation only in cases where the sense seems to 
demand it. 



If these volumes represent an improvement, as we 
trust they do, on former editions of Drummond's poetical 
works, the merit is due in part to those who have assisted 
us in their preparation. First and foremost we desire 
to express our thanks to Mr. H. Guppy of the John 
Rylands Library, Manchester, who from the first has been 
our guide in all that concerned the bibliography of the 
subject, and to whom we are indebted for much generous 
assistance in drawing up the bibliographical collations 
of the different texts. We have also to record our 
obligations to Mr. F. Sutherland Ferguson of the firm 
Mr. Bernard Quaritch for much valuable help in various 
directions ; likewise to the librarians of Britwell Court 
and of Haigh Hall, and to those of the Signet Library 
and the Advocates' Library in Edinburgh ; particularly 
to Mr. F. C. Nicholson, the librarian of Edinburgh 
University, for his kindness and patience in answering 
an almost constant stream of questions concerning the 
Drummond treasures in his keeping ; to Miss Ethel Cook 
of the same library for bibliographical collations, and for 
a very careful reading of the greater part of the proofs ; 
to Dr. R. L. G. Ritchie and Mr. H. M. Rush of Edin- 
burgh, and also to our colleagues M. L. Lailavoix, 
Dr. E. Classen, and Dr. W. J. Sedgefield, for co-operating 
with us in the investigation of more than one detail 
of interest ; to Mr. E. T. Griffiths, another colleague, 
without whose ungrudging support the preparation of 
the text for the press would certainly not have advanced 
as rapidly as it did ; to Professor G. Gregory Smith 
of Belfast for checking some of our notes dealing with 
Middle Scots; to the Earl of Home and to Sir James 
Drummond, Bart., of Edwinsford for information con- 
cerning the Drummond family and the Drummond 


portraits, and to Mr. Hugh Drummond of Hawthornden 
for permission to photograph certain portraits which are 
here reproduced for the first time ; to the late Lord 
Crawford of Haigh Hall, and to the authorities of the 
University of Aberdeen for placing their Drummond 
originals at our disposal ; and not least, to Mr. H. M. 
McKechnie, the secretary of the Manchester University 
Press, for many services freely rendered, and for his 
promptitude and unfailing courtesy during the progress 
of these volumes through the press. 


Manchester, April, 1913. 


To the most unobservant reader of Drummond's poetry it 
is at once evident that his verse is wholly exotic. It 
shares that character with the poetry of his Scottish 
contemporaries and immediate predecessors. It is no 
exaggeration to say that the poetry produced in Scotland, 
during the close of the sixteenth century and the early 
years of the seventeenth century, is not Scottish at all, 
except in the sense that the authors of it were born in Scot- 
land. This is true of Sir Robert Ayton, Sir David Murray 
of Gorthy, Sir William Alexander of Menstrie and others, 
and still more so of Drummond of Hawthornden. The 
reasons are not far to seek ; the bitter quarrels of prelate 
and presbyter at the time of the Reformation in Scotland 
acted like a blight on native poetry ; the Scottish idiom 
was gradually replaced by the vernacular of England as 
a means of literary expression, till it became the aim of 
all poets who wanted a hearing to write in as pure English 
as they could compass. Poetry written in Scotland ceased 
as a national art, and with the Union of the crowns in 
1603, and the consequent removal of the court to London, 
the Scottish Muse, now only wooed by certain of the 
gentry of the land, became for the time but a lowly 
follower in the retinue of her brilliant English sister. 

There was also the competition of Latin which at that 
time was still looked upon in Scotland by many as the 
normal vehicle for poetic utterance. 1 But besides English 
influence other external factors continued to operate on 

1 See DeliticB Poetavum Scotorum, published at Amsterdam, in 1637. 



the literature of Scotland. The ties of friendship which 
bound her to her old ally, though sadly weakened, were 
still a force to be reckoned with, and the fashion of send- 
ing Scottish youths to France, in order to complete their 
education there, had not ceased in Drummond's time, 
especially among the Royalist party. French literature, 
which had but lately burst into renewed splendour in 
the works of Ronsard and his associates, could not fail 
to compel the attention of the Scottish poets, many of 
whom had been educated or had travelled extensively 
on the continent. James VI. himself, who liked to pose 
as a Maecenas, openly avowed discipleship to the French, 
and encouraged the small band of poets and poetasters, 
who had learnt to look to him as an authority in 
such matters, to turn to France for literary sustenance. 
Even Alexander Montgomerie, the last of the Scottish 
" Makaris," while still adhering to the Scots vernacular, 
was largely an exotic poet in his choice of rhythms, 
and in his cultivation of the sonnet on the French and 
Italian pattern. Great as was the French influence on 
his predecessors it reached its climax in the poetry of 
Drummond, owing in great part to certain circumstances 
in his education. 

William Drummond was the son of John Drummond, 
the first Laird of Hawthornden and his wife Susannah 
Fowler. He was born at Hawthornden, some little 
distance from Edinburgh, on December 13, 1585. In 
1590 the poet's father was appointed Gentleman-Usher 
to the Scottish King ; and about the same time his uncle, 
William Fowler, was made private secretary to the 
Queen. Thus we see that the young Scot grew up in 
close touch with the Scottish court. After leaving school 
he proceeded to the University of Edinburgh, recently 
founded in 1582, where he graduated M.A. in July 1605. 
The sole teaching of the University then was in Arts 
and Theology, and as it was his father's desire that he 
should become a lawyer, William was sent abroad to 


pursue his studies in that direction. Before the end of 
the year 1606 we find him in France, where he remained 
throughout 1607 and 1608, alternating between Bourges, 
renowned at that time for its Law School, and Paris, 
prosecuting the study of general literature, with much 
greater assiduity than that of jurisprudence. In 1610 
his father died, and young Drummond, at the age of 
twenty-four, found himself the master of Hawthornden, 
and possessed of sufficient means to choose his own 
course of life. His mind being already of a contemplative 
and studious turn, it is not surprising that he immediately 
abandoned all thoughts of Law, and decided in favour 
of literature and a quiet life in picturesque Hawthornden. 
There he remained all his life, writing and meditating, 
undisturbed, save by the religious and political strifes 
of Scotland, making occasional more or less protracted 
sojourns in England or on the continent, when his peace 
was too seriously menaced. He died on December 
4, 1649, his death being hastened, so his early bio- 
grapher tells us, by his excessive grief for the execution 
of Charles I. 1 

Proof that Drummond was an accomplished French 
scholar is amply afforded by the contents of the library 
he had collected by 161 1, and of which he has left an 
account in eight separate lists or " tables." His collection 
consisted then of some 250 volumes in Latin, 120 in French, 
61 in Italian, 8 in Spanish, 11 in Hebrew, and only 50 in 
English. The proportions in the different languages 
are instructive ; they show plainly that Drummond's 
reading in French was wide and varied, and that he must 
have had no uncommon knowledge of the language 
and literature of that country. To this collection he 
added steadily, as we may gather from later lists of his 
books recorded in the Hawthornden Manuscripts, and 

1 The standard biography of Drummond is David Masson's 
Drummond of Hawthornden. The Story of his Life and Writings, 
London, 1873. The Memoir by Bishop Sage, introducing the folio 
edition of 171 1, is the principal early authority for the poet's life. 
VOL. I h 


from the catalogued donation 1 which he made to the 
University of Edinburgh in 1627, with subsequent additions 
in 1628 and 1630. With the help of these various records 
it is not difficult to realise the nature and extent of 
Drummond's reading in French. Poetry of the first half 
of the sixteenth century is represented by the works of 
Jean Le Maire de Beiges and of Clement Marot, Le 
Different du Corps et de V Esprit of Francois Habert, 
Les Marguerites of Marguerite de Navarre, the Amadis 
of Nicolas de Herberay. Coming to the Pleiade and 
their followers, we note the poetical works of Pontus 
de Tyard, of Peletier du Mans, of Jean de la Peruse, 
Les Jeux Rustiques of Du Bellay, practically the whole 
of Ronsard's poetic output, including the Amours, the 
Odes, the Franciade, the Bocage Royal, the Eclogues et 
Mascarades, the Elegies, the Hymnes, and the Discours 
des Miser es de ce temps ; the Amours of Baif, the poems 
of Jean de la Taille, of Odet de la Noue, of Philippe 
Desportes, of Passerat, of Mesdames des Roches, as well 
as the complete works of Du Bart as, and the Quatrains 
and Plaisirs de la Vie Rustique of Pibrac ; the tragedies 
of Jodelle and those of Gamier, the Regulus of Jean de 
Beaubreuil and the comedies of Larivey. Of contem- 
porary French poets Drummond had also read the 
works of Bertaut and of Du Perron, Le Sireine of Honor e 
d'Urfe, Le Recueil de toutes pieces of Theophile de Viau ; 
Les Muses gaillardes and Le Parnasse satyrique, besides 
sundry other anthologies of that period. The most 
important prose works figuring in the lists are the whole 
of Rabelais, the Institution Chrestienne of Calvin, the 

1 The books presented by Drummond to his Alma Mater are still 
preserved in a separate cabinet in the University of Edinburgh, though 
several of them have disappeared. The original donation of 1627 
consists of about 500 volumes in various languages, with some 
manuscripts. A Latin catalogue, with a preface by Drummond himself, 
accompanied the gift. Auctarium BibliotheccB Edinburgencs , sive 
Catalogus Librorum quos Gulielmus Drummond ab Hawthornden 
BibliotheccB D.D.Q. Anno 1627, is the title of this little volume of 
48 pages, printed at Edinburgh by the successors of Andro Hart. 


Heptameron of Marguerite de Navarre, all the chief works 
of Henri Estienne, the Essais of Montaigne, the Traite 
de la Sagesse of Pierre Charron, the Traite de la Philosophie 
des Stoi'ques of Guillaume du Vair, the Commentaires 
of Monluc, the Satire Menippee, the Recherches de la 
France and the Monophile of Estienne Pasquier, the 
Dialogues of Tahureau, the Lettres missives et familieres 
of Estienne du Tronchet, the Bigarrures et Touches of 
Tabourot, several of the works of Du Plessis-Mornay, 
the Amours de Cleandre of Nicolas de Montreux, the 
Discours politiques of Francois de la Noue, and several 

Although Drummond's reading in the French poets 
of the sixteenth century was so extensive, a glance at 
the examples quoted in the notes at the end of these 
volumes will show that his preferred models were Ronsard, 
Desportes, Pontus de Tyard, and. Passerat. Ronsard 
especially was his favourite, we may conclude, from 
the large number of his works he possessed, and from 
the copious extracts he entered in his commonplace- 
book ; and Desportes seems to have come next in the 
Scottish poet's affection. In preferring Ronsard and 
Desportes he was merely following the predilection of his 
predecessors and masters the Elizabethan sonneteers. 
Recent investigations have shown * sufficiently how 
great was the debt of the Elizabethan sonneteers to 
Desportes ; and Lodge's statement in his Margarite of 
America that Desportes' poetical writings were " ordinarily 
in everybody's hands " is a clear proof of that French 
poet's popularity in England at the time. The repeated 
recurrence on the part of Drummond to the works of a 
poet who, like Ronsard, enjoyed European reputation 
during the latter part of the sixteenth century occasions 

1 See the Introduction to Sir Sidney Lee's Elizabethan Sonnets. 
London, 1907. Also Max Maiberger, Studien iiber d. Einfluss Frank- 
reichs auf d. Elizabethan Liter atur. Frankfurt a. M., 1903, and our 
articles in the Modern Language Review (April 1908, and January 
1909), and in the Athencsum, October 22, 1904. 


little surprise, especially if it is borne in mind that when 
the young Scot first visited France the fame of Ronsard, 
though declining, was by no means yet spent. Subse- 
quently, at the time of Drummond's full literary activity, 
Ronsard's name was well-nigh forgotten in England and 
almost eclipsed in France, but the same cannot be said of 
other countries. 1 It is not so easy to understand the 
influence, restricted though it may be, exercised on him 
by Pontus de Tyard, one of the lesser stars of the Pleiade, 
and the author of the Erreurs Amoureuses (1549-1554), 
a collection of sonnets with a few miscellaneous pieces 
interspersed. Apart from the importance in the history 
of French literature of the date of Tyard's collection, the 
first book of which appeared at the close of 1549, a ^ ew 
months after Du Bellay's L' Olive, it has little to recom- 
mend it to the lover of poetry. Drummond was, not im- 
probably, attracted by that combination of philosophic 
thought and spiritual love which Pontus de Tyard had 
imbibed from the Delie of Maurice Sceve, and which 
he further reinforced by studying and translating the 
Dialoghi di Amove of Leo Hebraeus. His partiality to 
Jean Passerat, exemplified in his numerous borrowings 

1 In Germany and Holland more especially, and to a less degree 
in Italy, the works of the chief of the Pleiade were read eagerly and 
imitated during the whole time that Drummond was writing poetry, 
and when Ronsard's verses in his own native land were perused by 
a few conservative country gentlemen only. Opitz, both in theory 
and practice, took him as his chief model in his attempt to reform 
German poetry ; a large number of passages in the Buck von der 
deutschen Poeterey are copied verbatim from Ronsard's Art Poetique 
or from his prefaces to the Franciade, and a still larger proportion of 
his poems are translations or paraphrases of his French predecessor's 
work, while others are skilfully tessellated with passages picked here 
and there from Ronsard's poetry. P. Melissus, G. R. Weckherlin, 
and other poets of the group of German writers associated with Opitz, 
were also fervent admirers of the " grand Vendomois." In Holland, 
D. Heinsius, in his Nederduytsche Po'emata (1618), frequently imitated 
the same model. In Italy, during the vogue of Marinism, Marino 
himself borrowed the matter of more than one of his poems from the 
same source, and Ronsard was the only modern foreign poet, besides 
Garcilaso de la Vega, for whom the admiring Italian found a niche 
in his Galleria. 


from him, dates back no doubt to the time when the 
young poet was a student in France, at the Universities 
of Paris and Bourges, with both of which Passerat had 
had close relations. 1 Possibly his attention was drawn 
to Passerat by the fact that the latter' s complete poetical 
works appeared in two almost simultaneous editions in 
1606, the very year that Drummond arrived in Bourges. 
It would have been strange indeed if the Scottish poet, 
addicted as he was to the transmutation of foreign 
material into his poetry, could have resisted the attrac- 
tion of the famous Guillaume de Salluste, seigneur du 
Bartas, at a time when the author of the Weeks was 
undoubtedly more largely read in England than in his 
native country. There is evidence that Drummond 
had read Du Bartas, or at least a portion of his works, 
as early as 1609. In a letter written three years later, 
describing his first meeting with Alexander of Mens trie, 
and alluding to the latter' s Doomesday, which had not 
yet appeared in print, he says of his new acquaintance : 
" This much I will say, and perchance not without 
reason, dare say, if the heavens prolong his days to end 
his Day he hath done more in one Day than Tasso did 
all his life, and Bartas in his two Weeks, though both 
the one and the other be most praiseworthy." Now 
this passage reproduces almost verbatim the words which 
Simon Goulart, the commentator of the Sepmaines, 
ascribes to Ronsard after the publication of the first 
Sepmaine : " M. du Bartas a plus faict en une sepmaine 
que je n'ai faict en toute ma vie." A detail of this 
kind, insignificant in itself, argues great familiarity with 
the writings of the Huguenot poet and all that concerns 
them. 2 Drummond had also read Sylvester, and though 

1 After having been a Professor at the colleges of Plessis and of 
Boncourt in Paris, Passerat in 1565 entered the University of Bourges 
as a law student, and followed there the lectures of the renowned Cujas. 
In 1572 he succeeded Ramus as Royal Professor of Eloquence in the 
College de France. 

2 See Georges Pellissier, La Vie et les (Euvres de Du Bartas. Paris, 
1883, p. 277. 


he had no great opinion of his first-hand attempts, he 
praises his translations from Du Bartas unstintingly. 
His admiration for the French poet took concrete form 
in more than one poem of the Flowres of Sion. However, 
except in a certain passage of the " Shadow of Judgment " 
in that collection, describing the three Furies, his imitation 
of Du Bartas is pervasive rather than specific, though 
plain enough to anyone acquainted with the French 
poet's manner. 

The list we have given does not by any means exhaust 
Drummond's creditors in France. A Cypresse Grove for 
example, owes a good deal to Montaigne and to Charron, 
and a not inconsiderable number of the shorter poems 
are traceable to other French poets than those mentioned ; 
but in no case is the imitation sufficiently marked to call 
for special comment here. 

The Scottish court poets being followers of the 
Elizabethan sonneteers and of their French contem- 
poraries, both of which were steeped in Italian literature, 
inevitably fell under the spell exercised by Petrarch and 
his numerous votaries in the sixteenth century. Italian 
poetry affected them just as powerfully as it did the 
French and English poets. It is already apparent in the 
collections of sonnets and in the translations of William 
Fowler (who it may be recalled was Drummond's maternal 
uncle) and of Stewart of Baldines, 1 and is manifest in the 
new forms and manner practised by Montgomerie, David 

1 For the cultivation of the sonnet among the Scottish poets of 
the reign of James VI. see pp. xliii-xlvii of George Stevenson's 
Introduction to the supplementary volume of the Poems of Alexander 
Montgomerie, published (1910) by the Scottish Text Society. Two 
volumes of manuscript poetry by Fowler, including a transla- 
tion of Petrarch's Trionfi, and a sonnet -cycle entitled The 
Tarantula of Love, consisting of 71 sonnets, are in the Edinburgh 
University Library, to which they were presented by the poet 
Drummond. Stewart of Baldines is the author of Ane Abbregement 
of Roland Furious translated out of Ariost, and of some 33 sonnets, both 
preserved in manuscript form in the Advocates' Library. 

We understand that the Scottish Text Society has in hand editions 
of Fowler and of Stewart of Baldines. 


Murray of Gorthy, and especially William Alexander of 
Mens trie. In the case of Drummond of Hawthornden, 
however, it is so remarkable that it would be impossible, 
as far as we know, to quote a parallel in the whole of English 
literature. Not only is the number of poems conveyed by 
him directly from Italian extraordinary in itself, but he is 
impregnated to such an extent with Italian sentiment 
and Petrarchan conceits, that there is hardly an idea 
or simile, in his sonnets particularly, that could not be 
matched in Petrarch, or in his Italian or foreign disciples. 
The contents of Drummond's library show that his 
reading in Italian was hardly less comprehensive than 
in French. He had on his shelves the Divine Comedy of 
Dante, the Rime of Petrarch, and the sonnets " fatti ad 
imitatione del Petrarcha " of Benedetto Zino, the Orlando 
Furioso of Ariosto and his Rime, the Rime of Sannazaro, 
Bembo, Delia Casa, Cesare Caporali, Luigi Groto, the 
Nvove Fiamme of Lodovico Paterno ; all the important 
works of Torquato Tasso, including the complete Rime, 
the Rinaldo, the Gerusalemme Liber ata, the Gerusalemme 
Conquistata, the tragedy II Re Torrismondo, the Mondo 
Creato, and the Aminta ; the Rime and the Pastor Fido 
of Guarini, the Contrasto Amoroso of Muzio Manfredi ; 
collections of madrigals by Lelio Capilupi, Francesco 
Contarini, Muzio Manfredi, Cesare Rinaldi, Mauritio 
Moro, and Casone. He had also read and studied, of 
contemporary Italian poets, the whole of the Rime of 
Giambattista Marino, the Creazione del Mondo of Gaspare 
Murtola, and the Poemetti of Gabriele Chiabrera. In 
prose, he possessed the Filocopo and the Fiammetta of 
Boccaccio, the Arcadia of Sannazaro, the Suppositi of 
Ariosto, the Cortegiano of Baldassare Castiglione, the 
Asolani of Bembo, the Circe of Gelli, the Dialoghi of 
Pietro Aretino, the Prose of Bembo, the Battaglie per la 
difesa delV italica lingua of Muzio, the Dialoghi of Sperone 
Speroni and those of Claudio Tolomei, the Letter e Amorose 
of Girolamo Parabosco, the Civil Conversazione of Guazzo, 


etc. His library included likewise much Italian literature 
in French and in English translations, which he no doubt 
found very useful when he wished to avoid too great 

Drummond's preferred models among the Italian 
poets were Torquato Tasso, Guarini, and above all 
his contemporary Giambattista Marino, though he by 
no means confined his attention to this brilliant trio. 
His preference for Tasso, whom in one of his poems 
he apostrophises as " Rome's greatest wonder," and for 
Guarini, is not difficult to understand ; they were the 
two greatest Italian poets of the later sixteenth century, 
and both were widely read in England and in France in 
certain circles. When Drummond began to write poetry, 
of living Italian poets the most conspicuous was un- 
doubtedly Marino, the apostle of a new poetic style which 
goes by the name of " Marinism." The Scottish poet no 
doubt was attracted by Marino's gorgeous style and by 
his extraordinary wealth of expression, but more, we think, 
on account of a certain metaphysical tendency, which 
finds expression in some of the best of Marino's religious 
compositions, and which was perfectly in keeping with 
the Scotchman's own way of thinking. His depend- 
ence on Torquato Tasso and Guarini is conspicuous 
enough. His indebtedness to Marino, however, is still 
more striking, twenty of his poems at least having 
already been referred to that source, many of them 
being literal translations. The Italian influence is also 
betrayed by a predilection for such typical Italian 
forms as the sonnet, the madrigal, and the sestina. All 
this is sufficiently obvious, as is also the arrangement 
in two parts of his love-poems on the model of Petrarch's 

Though the influence exercised by Italian literature 
on the poetry of Drummond is certainly remarkable, 
it is not wholly unexpected. It is the extent of it which 
is surprising. From the day that Sir Thomas Wyatt 


and the Earl of Surrey introduced a new manner of 
poetry from Italy, save for a considerable break till we 
reach Spenser, the English poets were always powerfully 
attracted by the charms of the Italian Muse. This 
influence was particularly potent in the last two decades 
of the sixteenth century when the literature of the 
Elizabethan age was at its height ; and continued to 
make itself felt, in a different form, in the Jacobean 
period. On the other hand, the Spanish poets were 
strangely neglected, in spite of frequent political relations 
between the two countries. It is known that Sir Thomas 
Wyatt spent, with occasional furloughs, more than two 
years in Spain on his embassage to the Emperor (April 
1537 to June 1539), at a time when Spanish poetry had 
just entered on a fresh and brilliant career ; 1 and yet 
his work, so largely imitative, contains no trace, as far 
as we are aware, of this protracted sojourn in the Penin- 
sula. The circumstance that Boscan and Garcilaso were 
engaged in the same task as himself may possibly have 
convinced Wyatt that he could learn nothing from them. 
Moreover, their verses were not given to the press till 
1543, though no doubt exists that they had circulated 
widely before that date. We have to wait some twenty 
years for any direct imitation. In 1561 the poet Barnaby 
Googe spent a year in Spain, returning in May 1562. 
The year after he published a collection of poems under 
the title Eclogs, Epytaphes, and Sonettes. In this meagre 
volume it was that the Diana of Montemor, which was 
not printed till 1559, or about a year before Googe arrived 
in Spain, made its first appearance in English literature. 
Among the poems that it contains, two of the Eclogues, 
the fifth and the seventh, are adaptations into verse of 
prose passages of the Diana. The fifth eclogue is a free 

1 It may be recalled that there were several Italianates in Spain 
before Boscan and Garcilaso — as Francisco Imperial (the son of an 
Italian), Santillana, and Juan de Villapando, both experimenters 
in the sonnet ; howbeit their hour was not propitious, and they did 
not initiate a new movement. 


adaptation of the story of Felismena in the Second Book, 
and follows the general outline of the original, though 
some of the speeches present quite close translations. 
The seventh is a very faithful rendering of the scene 
between the shepherds Silvanus, Sirenus, and Selvagia 
in the First Book. About thirty years later Sir Philip 
Sidney, in the added sonnets and poetical translations 
printed for the first time as an appendix to Astrophel and 
Stella (in the third edition of Arcadia, 1598), included 
two lyrics, which are acknowledged by him as translations 
from the same pastoral romance. The sixth eclogue 
of Googe likewise contains a few lines from the Egloga II. 
of Garcilaso, who himself, it may be noted, had derived 
them from Sannazaro. These dozen lines, describing 
the process of snaring a flock of birds by the device of 
letting loose one of their fellows carrying a limed line 
among them, and the few lyrics by Sidney from the 
Diana, represent the sum total of Spanish poetry adapted 
or translated in England during the sixteenth century — as 
far as we know. The neglect of Spanish poetry at this 
time is further testified by the fact that none of the 
numerous authors of theoretical treatises on poetry in 
England, with the exception of Abraham Fraunce, 
make any mention of the Peninsular poets. Abraham 
Fraunce is now only remembered on account of his tireless 
advocacy of the English hexameter. He published his 
Arcadian Rhetorike 1 in 1588, and dedicated it to that 
zealous patroness of letters, the Countess of Pembroke. 
Among the passages which he brings forward in support 
of his precepts, Fraunce cites examples from Boscan 
and from Garcilaso — in all 263 lines. He quotes them 
in the original. Whether this circumstance argues a 
knowledge of Spanish on the part of his contemporaries, 

1 A summary and a few extracts from Fraunce's Arcadian Rhetorike 
are printed in Vol. I. (p. 303 et seq.) of Gregory Smith's Elizabethan 
Critical Essays. Oxford, 1904. Apart from Boscan and Garcilaso, 
the modern foreign poets quoted by Fraunce are Torquato Tasso and 
Du Bartas. 


or at least among the inner circle of Sir Philip Sidney, 
to which Fraunce belonged, can hardly be decided. 
Fraunce was so much of a pedant that he may very well 
have had recourse to this procedure in order to impress 
his friends. In any case he introduced the two great 
Spanish poets to the English public ; but, probably 
because his dull treatise lacked the elements of popularity, 
his introduction remained unheeded, and did not have 
any effect even on his associates. That two poets of 
the ranks of Boscan and Garcilaso — the latter like Sir 
Philip Sidney personifying all graces and accomplishments 
— worshippers of Petrarch and of his successors, should 
have been so completely overlooked, at a time when in 
England the manner of the great Italian master was so 
eagerly cultivated, can only be regarded with surprise. 
The causes that may have affected Wyatt no longer 
held ; both Boscan and Garcilaso had long ago won their 
spurs. The attitude of the Elizabethans to the con- 
temporary Spanish poets was no less indifferent ; when 
in Spain the school founded by Boscan and Garcilaso 
was continued by Fernando de Herrera and his disciples, 
the English poets showed no more interest in their 
achievement than they had done in that of their illustrious 
predecessors. 1 As literary fashions not infrequently 
and naturally percolated into England during this period 
through French channels, a glance at the attitude of 
the French in the sixteenth century in regard to Spanish 
poetry cannot fail to throw some light on the point at 
issue. Outside the drama, no French poet of the sixteenth 
century, excepting Desportes, 2 who could not refrain 
from copying anything he read, can be shown to have 

1 Gabriel Harvey, who belonged to the same group as Fraunce, 
showed some acquaintance with the trend of Spanish poetry in the 
sixteenth century. In his Pierces Supererogation (1593) he affirms, 
after enthusiastic commendation of Petrarch's sonnets, that " all 
the noblest Italian, French and Spanish poets have in their ^several 
veins Petrarchized." 

2 On Desportes and Montemor, see Revue d'Histoire litteraire de 
la France, 1897, p. 61. 


been influenced, to any appreciable extent, by the 
Spaniards. Du Bellay alludes to them twice only, and 
in a very perfunctory manner, in the Deffence. The only 
mention of them by name occurs in the Sepmaine of 
Du Bartas, where Boscan and Garcilaso are singled out 
as the representative poets of Spain, by the side of 
Guevara and Granada the chief ornaments of her prose, 
in the enumeration of the principal supporters of the 
leading modern languages : 

Guevare, le Boscan, Grenade, et Garcilace 
Abreuuez du Nectar, qui rit dedans la tasse 
De Pitho verse-miel, portent le Castillan. 

In view of the immense vogue of Du Bartas, both in 
France and England, it is not improbable that the mention 
of Boscan and Garcilaso in Du Bartas' catalogue may 
have helped to form and to hand down a tradition that 
the pair he selects were the greatest poets of Spain. 
At any rate that was the view taken in France and 
England during the whole of the sixteenth century. 
Things had changed in both countries when Drummond 
began to write ; the influence of Peninsular poetry 
on Donne and his group, however subtle, appears un- 
deniable ; while M. Lanson has proved that, at the begin- 
ning of the seventeenth century, that influence was making 
itself felt strongly in the verse of Voiture, Scarron, and 
Sarasin. 1 

But Drummond was to all intents and purposes an 
Elizabethan in his conception of the poetic art ; he 
did not share the indifference of his predecessors 
as regards Spanish poetry, but he shared their views., 
He too looked upon Boscan and Garcilaso as the two 
representative poets of Spain ; he cites them together, 
and he read them, or at least Garcilaso, with so much 
delight and sympathy, that he could not resist the 

1 See Revue d'Histoire litteraire de la France, 1896, pp. 45 and 321 ; 
1897, p. 180 ; 1901, p. 395. 


temptation of adapting several of their compositions — 
without acknowledgment as usual. This is an interest- 
ing fact which has hitherto been altogether overlooked, 
and which constitutes a not unimportant addition to 
the scanty debt which English literature owes to that 
of Spain. Drummond, however, differed from the 
Elizabethans in that he knew Spanish well ; his library 
comprised, besides the combined poetical works of 
Boscan and Garcilaso, the Cdrcel de Amor, the Celestina, 
the Dial of Princes and the Familiar Epistles of Guevara, 
the Guia de Pecadores of Granada, the Diana of Montemor, 
the Galatea of Cervantes, the Arcadia and the Rimas 
Humanas of Lope de Vega, and various anthologies. 

It has already been mentioned that his masters in 
England were the Elizabethans, the sonneteers princi- 
pally. Of these his favourite was undoubtedly Sir Philip 
Sidney. W. C. Ward was the first, it appears, to instance 
a number of passages and single verses in which Sidney's 
influence is unmistakable, and to point out Drummond's 
habit of skilfully weaving Sidney's very phrases into the 
web of his own verse. To the instances gathered by Ward 
a substantial addition must be made. David Masson 
has also shown that the Scottish poet transplanted two 
c powerful passages from Shakespeare into his own poetry 
without any acknowledgment. These, together with the 
numerous loans from Sidney, suggest that he may have 
extended this mode of exploitation to other poets. Our 
researches, however, have not corroborated the suspicion 
we once entertained that a large number of the striking 
lines in his poems were stolen property, and that he 
had systematically, pen in hand, ransacked his favourite 
poets, jotting down the finest verses for incorporation 
in his own poetry. This he undoubtedly did in the case 
of Sidney ; practically all the outstanding verses of 
Astrophel and Stella 1 can be paralleled in Drummond's 

1 There is a copy in Drummond's hand of Astrophel and Stella, 
among the books which he presented to the University of Edinburgh. 


sonnets. He was likewise a fervent admirer of Sidney's 
Arcadia, and to it he is indebted in almost equal measure, 
particularly in the longer poems. The other Elizabethan 
sonneteers he had also read and studied ; he notes that 
the sonnets of Shakespeare have lately been published ; 
praises those of his friend Sir William Alexander and 
those of Daniel ; declares that Drayton' " seemeth rather 
to have loved his Muse than his Mistress " ; and makes 
the startling assertion that Spenser's Amoretti are " so 
childish " that they cannot very well be the work of so 
distinguished a poet. Constable's Diana he knew by 
report only, and Lodge's Phyllis he notes as having been 
read by him in the year 1611. To all these, however, 
he owes very little, except perhaps a reminiscence 
or two from Spenser's Amoretti, or from Alexander's 
Aurora. 1 

Before passing on to the second part of this inquiry, 
it may be added in conclusion that Drummond was also 
indebted to the poets of the Anthology, and to the Neo- 
Latin writers of France, Italy, and Scotland. In his 
lists of books we have noticed the Africa and the De 
Contemptu Mundi of Petrarch, the De Mtna of Bembo, 
the Macaronicorum Libri III. of Merlinus Coccaius, the 
Hymni of Pico della Mirandola and of Marullus, the 
Poemata of Pontanus, Basinius, Flaminius, and Castiglione ; 
the Zodiacus Vita of Marcellus Palingenius, the De 
Mutations Rerum of Cardanus, the Juvenilia of Beza 
and of Muret; various collections of Latin verse by 
Barclay, Melissus, Adrien de Turnebe, Joachim du 
Bellay and Daniel Heinsius ; the Nihil of Passerat, 
the Epigrammata of John Owen, the Basia of Ay ton, 
and the complete Latin works of Arthur Johnston. 
From the Neo- Latin poets he borrowed the matter 
of several of his epigrams and other short pieces, 
and Castiglione's Latin elegy on the death of Alcon 

1 For more details on Drummond's English books, see David 
Laing's memoir in Archcsologia Scotica, iv. p. 73 et seq. 


served as his model for the pastoral elegy on the death 
of Sir Anthony Alexander. 

In his day Drummond hardly enjoyed the amount of 
celebrity one would expect, partly no doubt because of 
his retiring disposition, and perhaps also because he wrote 
far from the capital. None of his works had a wide 
circulation. Of his contemporaries, Drayton, who kept 
up a friendly correspondence with him for a considerable 
time, had a high opinion of his poetic powers. Sir William 
Alexander of Menstrie, to whom he was united by the 
bonds of the closest friendship, naturally looked favourably 
upon the productions of one he might with some reason 
claim as a disciple. Sir David Murray of Gorthy, another 
compatriot, was the first in a laudatory sonnet prefixed 
to the advance issue of the Poems, to point to that quality 
of " sweetness/' which has since been inseparably 
associated with Drummond' s name as a poet. 

Even a judge so difficult to satisfy as Ben Jonson, 
while making some characteristic reservations, thought 
well on the whole of the Laird's verse, if indeed implicit 
faith can be attached to his words as set down by 
Drummond in the Conversations : " His censure of my 
verse was : That they were all good, especiallie my 
Epitaphe of the Prince, save that they smelled too much 
of the Schooles, and were not after the fancie of the 
tyme ; for a child (sayes he) may writte after the fashion 
of the Greeks and Latins verses in running ; yett that 
he wished, to please the King, that piece of Forth Feasting 
had been his owne." It is somewhat difficult to reconcile 
this statement with the following pronouncement, likewise 
recorded in the Conversations, according to which Jonson 
" cursed Petrarch for redacting verses to Sonnets ; which 
he said were like that Tirrant's bed, where some who 
were too short were racked, others too long cut short." 
If Ben " cursed " Petrarch, he could not very well Hess 
his Scottish friend. 

In 1656 Drummond's collected poems were printed 


for the first time with a preface by Edward Phillips, 
Milton's nephew. In this preface Phillips writes : "To 
say that these Poems are the effects of a genius the most 
polite and verdant that ever the Scottish nation produced, 
although it be a commendation not to be rejected (for 
it is well known that that country hath afforded many 
rare and admirable wits), yet it is not the highest that 
may be given him ; for, should I affirm that neither 
Tasso, nor Guarini, nor any of the most neat and refined 
spirits of Italy, nor ever the choicest of our English Poets, 
can challenge to themselves any advantage above him, 
it could not be judged any attribute superior to what he 
deserves, nor shall I think it any arrogance to maintain 
that among all the several fancies that in these times 
have exercised the most nice and curious judgments 
there hath not come forth anything that deserves to be 
welcomed into the world with greater estimation and 
applause, etc." This document, despite its obvious 
hyperbole, is most interesting, and opens out more than 
one attractive inquiry. Here we have the first inkling 
of Drummond's relation to the Italian poets. Phillips, 
who had been brought up and educated by his uncle, 
was in all probability well acquainted with Italian 
literature. In this part of his studies he could have 
had no better guide than Milton, whose long sojourn in 
Italy had enabled him to perfect his knowledge of a 
language and literature which he had already studied 
in his youth. May it then not be that Phillips, allowing 
for some exaggeration on his own part, is recording his 
uncle's estimate of Drummond's work as well as his own ? 
There appears to be no doubt that the author of Paradise 
Lost was a reader of Drummond ; and we are inclined to 
believe that he communicated his interest and admiration 
to his nephew. However, what concerns us more particu- 
larly is that Phillips actually mentions by name two of 
the Scottish poet's principal Italian creditors — Tasso and 
Guarini. This significant and suggestive mention seems 


to have been overlooked by subsequent writers on 
Drummond. Among modern critics the appreciation 
of Charles Lamb, 1 mainly because of the eminence of the 
author, deserves special attention : " The sweetest names, 
and which carry a perfume in the mention, are, Kit 
Marlowe, Drayton, Drummond of Hawthornden, and 
Cowley." The Laird of Hawthornden is here in good 
company, and the English essayist cannot be accused of 
having meted out praise with a grudging hand. Southey, 
Hallam, and others whose voice carries authority, have 
spoken of the Scotchman's sonnets as indubitably among 
the best in the English language, after those of Shakespeare 
and Milton, and a few of Wordsworth's. More recently 
David Masson, the author of the standard Life of 
Drummond, formulates his judgment best in the following 
well -chosen words : " What strikes us throughout in 
Drummond's pieces is the combination of a certain 
poetic sensuousness, or delight in the beauty of scenery, 
colours, forms, and sounds, with a tender and rather 
elevated thoughtfulness." W. C. Ward, his latest 
editor, is manifestly over-generous in his appreciation, 
despite that he was the first to be able to take into 
account at least part of Drummond's debt to foreign 

The epithets " sweet," " contemplative," " sensuous " 
have all been applied to the Scottish poet's verse. They 
are all more or less appropriate, but they are not of much 
assistance in assigning to him his proper position as a 
poet. In order to arrive at a more exact and definite 
conclusion, it is essential to judge him according to the 
tenets of the school to which he belonged, and in the 
light of recent discoveries. His whole attitude and his 
conception of the poet's art point unerringly to the 
Elizabethans and to the Ronsardists, though it is at once 
obvious that he lacked the freedom and plenitude ofthe 
greater of his predecessors. He is not a poet of the 

1 The Last Essays of Eli a, 1833, p. 49. 


seventeenth century in spite of dates ; from the first 
he represents an older school — the school of Petrarch, 
Ronsard, and Sidney. When he was first abroad, 
the Pleiade, as has already been pointed out, though 
seriously menaced and fast losing ground, was still 
a force ; but on his second long visit to the Continent, 
between 1625 and 1630, he found the exact and " correct " 
Malherbe triumphant and reprobating Ronsard and his 
belated followers for their liberties. This ascendency 
of " prose and reason/' and fault-finding with revered 
masters, appears to have roused the Scottish poet's 
indignation. In a letter addressed to his friend Dr. 
Arthur Johnston, the famous Latinist, he writes, in answer 
to some queries put to him about poetry, in a tone which 
leaves little doubt that he is aiming at Malherbe and his 
innovations : "In vain have some Men of late (Trans- 
formers of every Thing) consulted upon her Reformation, 
and endeavoured to abstract her to Metaphysical Ideas 
and Scholastical Quiddities, denuding her of her own 
Habits, and those Ornaments with which she has amused 
the World some Thousand Years. Poesy is not a Thing 
that is yet in the finding and search, or which may be 
otherwise found out. . . . Neither do I think that a good 
Piece of Poesy, which Homer, Virgil, Ovid, Petrarch, 
Bartas, Ronsard, Boscan, Garcilasso (if they were alive, 
and had that Language) could not understand. . . . What 
is not like the Ancients and conform to those Rules 
which hath been agreed unto by all Times, may (indeed) 
be something like unto Poesy but it is no more Poesy 
than a Monster is a Man." His adherence to the 
last to a school that had seen its day helps to 
understand, though it does not explain altogether, why 
he did not write any more poetry after 1623. He 
seems to have felt unconsciously that his Muse was now 
a stranger in the land. 

To Drummond's masters the whole poetic scheme 
was founded on imitation. Was not the basis of Du 


Bellay's poetic evangel imitation ? They all preached and 
practised it, French and English, as well as Italian and 
Spanish, following in the wake of the Angevin's Deffence, 
which had sounded like a call to arms, at least on both 
sides of the Channel. Howbeit, it is essential to under- 
stand what this new school really meant by what they 
called " imitation/' They did not attribute to the 
term the same meaning that we Moderns do, or the same 
value. The spokesman of the PUiade has made his 
meaning plain in more than one passage of his celebrated 
manifesto. The poet was urged to imitate the Ancients, — 
and with hardly less emphasis the Italians, — but only 
in the sense that he must absorb and digest their ideas 
and forms to his own use, converting them into flesh 
and blood. 1 He might adopt the images, the turns, 

1 Du Bellay's exact words {Deffence, i. 7) are : " Se transformant 
en eux, les devorant, et, apres les avoir bien digerez, les convertissant 
en sang et nouriture." Estienne Pasquier, following Seneca (Epist. 
LXXXIV.), says the same thing, at greater length, in his thirty-seventh 
Letter : " Quand je vous parle de l'art, ce ne sont point les preceptes 
que je vous ai ci-devant touches : la lecture d'un quart d'heure d'iceux 
peut rendre en ce sujet le lecteur aussi savant que je suis ; mais bien 
une longue etude des auteurs grecs, latins, italiens, et de ceux qui 
ont quelque nom en notre vulgaire. Je veux que celui qui desire 
etre bon poete francais alambique d'eux un bon sue, dont il faconnera 
ses ecrits ; je veux que, comme l'abeille, il sucotte leurs rleurs, pour en 
former son miel, non pas qu'il en soit quitte pour habiller a la francaise 
les inventions etrangeres, comme j'en vois quelques-uns l'avoir fait avec 
une honte effacee (cela ne peut proceder que d'un esprit cacochyme) ; 
il faut qu'en lisant il se fasse riche aux depens de celui qui, en lui pretant, 
ne lui pretera rien, meme empruntera de lui telle chose a quoi l'auteur 
n'avait pense, par une taisible suggestion et rencontre de leurs bons 
naturels ; que ce soit une bonne digestion, dont il fera un corps solide, 
sans rendre les viandes indigestes, et ainsi qu'il les aura prises. S'il 
gagne cet avantage sur lui et sur nous qu'adonc il lui soit permis de 
mettre la main a la plume, et nous communiquer ses ecrits." Ben 
Jonson, in his Discoveries (ed. Castellain, p. 125), expresses his view 
in similar terms : " The third requisite in our Poet, or Maker, is Imita- 
tion, to bee able to convert the substance or Riches of another Poet, 
to his owne use. To make choise of one excellent man above the rest, 
and so to follow him, till he grow very Hee ; or so like him, as the Copie 
may be mistaken for the Principall. Not, as a Creature, that swallowes, 
what it takes in, crude, raw, or undigested ; but that feeds with an 
Appetite, and hath a Stomacke to concoct, devide, and turne all into 
nourishment. Not, to imitate servilely, as Horace saith, and catch 


and even the thoughts of his model, provided he breathed 
into them his own individual spirit. This is how Ronsard 
and Du Bellay, and, adopting their precepts and example, 
the Elizabethans, understood poetry. Though their 
laws in these matters were not our laws, they are perfectly 
legitimate and comprehensible. Their aim and ideal 
was what may be termed " original imitation." It is 
for that reason that they never tire of appealing to Latin 
literature, which to them offered a splendid model and a 
striking justification of their tenets. They would strive 
to emulate the example of Vergil and of Horace. True 
it is that even the greatest of them did not always realise 
their ambition. They faltered at first ; but it would be 
perversity itself to judge them by tentative ventures 
which enabled their successors to profit by their experience. 
Neither Ronsard nor Du Bellay, in their representative 
work, copied any more than Spenser in the Faerie Queene. 
The really great poets created anew, and their own genius 
infused and moulded the matter they drew from foreign 
sources. In that sense, and in that sense only, can their 
more mature efforts be called imitative. However, 
the dangers of a conception of poetry resting mainly on 
imitation, clear and well-defined though it may be, 
are manifest ; there is only one step from imitation, 
once its inward significance is lost sight of, to plagiarism. 
Imitation may easily degenerate into translation or 
something perilously like it. Ronsard and Du Bellay 
foresaw this, and insisted on the distinction between 
imitation and mere translation. Insistence on this 
essential brought them, as we know, into conflict with 
their immediate predecessors ; it led to a regular encounter 
between Du Bellay and the accredited representatives 

at vices, for vertue, but to draw forth out of the best, and choisest 
flowers, with the Bee, and turne all into Honey, worke it into one 
relish, and savour : make our Imitation sweet : observe, how the 
best writers have imitated, and follow them. How Virgil, and Statins 
have imitated Homer: how Horace, Archilochus ; how, Alcaeus, and 
the others Liricks : and so of the rest." 


of the Marotic school. All this is sufficiently clear 
to us now ; in the days when the Pleiade were starting 
a new literary theory it required explanation and 
emphasising, especially after a few unfortunate initial 
attempts such as U Olive had afforded renewed hope and 
courage to the opposition. Moreover, the theory ex- 
pounded by Du Bellay demanded poetic gifts of a high 
order such as he and his chief could command. The 
lesser stars of the Pleiade, — Baif, Jamyn, De Magny, 
and the rest, — admitting they had a clear conception 
of the precepts contained in the Deffence, were rarely 
able to put them into practice, because they were 
not sufficiently poetically endowed. Except on rare 
occasions, they failed to realise that digestive assimila- 
tion on which Du Bellay insists. Their failure to do so is 
most marked in the endless sequences of sonnets they 
compiled, a form which they preferred to all others for 
obvious reasons. In England, not to mention Italy 
and Spain, the same phenomenon is reproduced ; Wyatt, 
even if his primary efforts (and those of Surrey) form 
an isolated episode in English literary history, was a 
still worse example than the juvenile Du Bellay for his 
successors ; and when, towards the latter end of the 
century, the sonneteering vogue burst like a splendid 
chorus over the land, the minor poets, with the double 
attraction of French as well as Italian models at hand, 
succumbed to the same temptation as the less gifted of 
Ronsard's associates. Constable, Griffin, Giles Fletcher, 
are little better in that respect than Baif, Jamyn, or 
De Magny. Even poets of undoubted talent, such as 
Lodge and Daniel, produced little more than skilful 
translations or adaptations from French and Italian 
patterns in the sonnet-cycles addressed to Phyllis and to 
Delia. Shakespeare, on the other hand, — since one 
is inevitably driven to him for excellence in all that 
concerns poetry — did indeed convert his models into 
flesh and blood ; and showed once more, in the sonnet, 


that he had no peer in any branch of poetry. His sonnets 
are redolent of Italian thought and sentiment, but he 
breathed into them a native fire and a lyric melody which 
no writer of any country has surpassed. The same is 
true, in lesser degree, of Sidney's Astrophel and Stella, 
and with some exceptions, of the sonnets that compose 
Spenser's Amoretti. Besides, in spite of their advocacy of 
digestive imitation as a means of renovating poetry, there 
is ample testimony that the greater French and English 
poets of the sixteenth century were fully alive to the 
importance of originality, or invention as they termed it. 
We are not sure that their advocacy of imitation was not 
meant by them as a step towards the realisation of an 
entirely original literature. A large proportion of the 
finest literature of that period, in England particularly, 
is free of all imitation. 

In a considerable number of his poems Drummond 
may fairly claim to have assimilated his models. This 
is especially true of his borrowings from the French 
sonneteers, as the following example will show. In 
his Erreurs Amour euses Pontus de Tyard had written : 

Sont-ce ces prez ou ma Deesse affable, 

Comme Diane allaigrement troussee, 

Chantoit un chant de ma peine passee, 

Et s'en rendoit soy-meme pitoyable ? 
Est-ce cest Orme, ou d'un riz aimable, 

Disant, A dieu gloire de ma pensee, 

Mignardement a mon col enlacee. 

Elle me fut d'vn baiser fauorable^ 
Et dea, ou est (6 prez defleurez) donq 

Le beau tappiz, qui vous ornoit adonq ? 

Et l'honneur gay (Orme) de ta verdure ? 
Languissez vous pour ma Nymphette absente ? 

Donques sa veue est elle assez puissante, 

Pour, comme moy, vous donner nourriture ? 

Here is Drummond's version, typical of how he could 
change a somewhat colourless canvas into a glowing 
picture : 


Are these the flowry banks ? is this the mead 

Where she was wont to pass the pleasant hours ? 

Did here her eyes exhale mine eyes salt showrs, 

When on her lap I laid my weary head ? 

Is this the goodly elm did us oerspread, 

Whose tender rine cut out in curious flowrs 

By that white hand, contains those flames of ours ? 

Is this the rustling spring us music made ? 

Deflourishd mead where is your heauenly hue ? 

Bank, where that arras did you late adorn, 

How look ye elm all withered and forlorn ? 

Only sweet spring nought altered seems in you : 
But while here chang'd each other thing appears, 
To sour your streams take of mine eyes these tears. 

The same is true of many of his borrowings from the 
Italian and Spanish poets. 

In another equally graceful sonnet the Scottish poet 
apostrophises the Nymphs in these words : 

Nymphs, sister nymphs which haunt this crystal brook, 
And (happy) in these floating bowers abide, 
Where trembling roofs of trees from sun you hide, 
Which make ideal woods in every crook, 
Whether ye garlands for your locks provide, 
Or pearly letters seek in sandy book, 
Or count your loves when Thetis was a bride ? 
Lift up your golden heads and on me look. 
Read in mine eyes mine agonising cares, 
And what ye read recount to her again : 
Fair nymphs, say all these streams are but my tears, 
And if she ask you how they sweet remain, 
Tell that the bittrest tears which eyes can pour,| 
When shed for her do cease more to be sour. 

The original, by Garcilaso, leaves little doubt that the 
pupil has at least equalled the master : 

Hermosas ninfas, que en el rio metidas, 
Contentas habitais en las moradas 
De relucientes piedras fabricadas 
Y en colunas de vidro sostenidas : 


Agora esteis labrando embebecidas, 
O tejiendo las telas delicadas ; 
Agora unas con otras apartadas, 
Contandoos los amores y las vidas ; 

Dejad un rato la labor, alzando 
Vuestras rubias cabezas a mirarme, 
Y no os detendreis mucho segun ando ; 

Que 6 no podreis de lastima escucharme, 
O convertido en agua aqui llorando, 
Podreis alia de espacio consolarme. 

Cardinal Bembo, celebrating the charms of a quiet 
country life, far from the vulgar throng and the world's 
discords, penned the following sonnet : 

Lieta e chiusa contrada ; ov' io m' involo 
Al vulgo, e meco vivo, e meco albergo ; 
Chi mi t' invidia hor, ch' i Gemelli a tergo 
Lasciando scalda Phebo il nostro polo ? 

Rade volte in te sento ira ne duolo : 
Ne gli occhi al ciel si spesso e le voglie ergo ; 
Ne tante carte altrove aduno e vergo, 
Per levarmi talhor, s' io posso a volo. 

Quanto sia dolce un solitario stato, 
Tu m' insegnasti ; e quanto haver la mente 
Di cure scarca, e di sospetti sgombra. 

O cara selva e fiumicello amato 

Cangiar potess' io il mar e '1 lito ardente 
Con le vostre fredd' acque e la verd' ombra. 

Taking up again the same theme, Drummond 
refashions it as follows : 

Dear wood, and you sweet solitary place, 
Where from the vulgar I estranged live, 
Contented more with what your shades me give, 
Than if I had what Thetis doth embrace : 
What snaky eye grown jealous of my peace, 
Now from your silent horrors would me drive ? 
When Sun progressing in his glorious race 
Beyond the Twins, doth near our pole arrive. 


What sweet delight a quiet life affords, 
And what it is to be of bondage free, 
Far from the madding worldlings' hoarse discords, 
Sweet Flowry place I first did learn of thee : 
Ah ! if I were mine own, your dear resorts 
I would not change with princes' stately courts. 

His relation to the foreign prototype is not always 
so easy to determine ; a sonnet may be remoulded 
into a poem of quite a different form. Thus the piece 
with the rubric Astrea in Vrania : 

Astrea in this time 

Now doth not live, but is fled up to heaven ; 

Or if she live, it is not without crime 

That she doth use her power, 

And she is no more virgin, but a whore, 

Whore prostitute for gold : 

For she doth never hold her balance even, 

And when her sword is roll'd, 

The bad, injurious, false, she not oerthrows, 
But on the innocent lets fall her blows. 

is a transmutation of the antepenultimate sonnet of 
Marino's Rime Morali : 

Quanto da quel di pria Francesco mio 
Varia e la nostra etk. Piu, qual solea, 
Non alberga fra noi la bella Astrea, 
Ma con V altre compagne al Ciel sen gio. 

O se pur vive in questo secol rio, 
Non e (qual dianzi fu) Vergine Dea, 
Ma meretrice mercenaria, e rea, 
Corrotta da vilissimo desio. 

Le lance, use a librar 1' humana sorte 
Con giusta legge, hor da V usanze prime 
Per troppo ingorda passion son torte. 

E la spada, ch' al Ciel dritta, e sublime 
Volgea la punta, in giu rivolta hor morte 
Minaccia al' egro, e V innocente opprime. 

These are characteristic examples of Drummond at 


his best. By the side of such pieces, there are many 
in which, while retaining his usual felicity of diction, 
he is little more than a translator, but a very skilful one. 
The following sonnet, likewise borrowed from Marino, 
will serve as an example : 

Beneath a sable veil, and shadows deep, 
Of unaccessible and dimming light, 
In silence' ebon clouds more black than night, 
The worlds great King his secrets hid doth keep : 
Through those thick mists when any mortal wight 
Aspires, with halting pace, and eyes that weep, 
To pore, and in his mysteries to creep, 
With thunders he and lightnings blasts their sight. 
O Sun invisible, that dost abide 
Within thy bright abysms, most fair, most dark, 
Where with thy proper rays thou dost thee hide ; 
O ever-shining, never full-seen mark, 
To guide me in life's night, thy light me show, 
The more I search of thee, the less I know. 

The Italian original is as follows : 

Sotto caliginose ombre profonde 
Di luce inaccessibile sepolti, 
Tra nembi di silentio oscuri, e folti, 
L' eterna Mente i suoi secreti asconde. 

E s' altri spia per queste nebbie immonde 
I suoi giudici in nero velo avolti, 
Gli humani ingegni temerari, e stolti, 
Col lampo abbaglia, e col suo tuon confonde. 

O invisibil Sol, ch' a noi ti celi 
Dentro 1' abisso luminoso, e fosco, 
E de' tuoi propri rai te stesso veli ; 

Argo mi fai, dov' io son cieco e Iosco, 
Nela mia notte il tuo splendor riveli, 
Quando t* intendo men, piu ti conosco. 

This beautiful sonnet — and it is far from being the 
only one — illustrates with what care he picked his 
models to suit his moods and temperament ; so that 


frequently the spirit of the original as well as the letter 
is borrowed. The Scottish poet knew that gold as well 
as dross could be found in the pages of the prolific author 
of V Adone} 

A full third of Drummond's compositions are transla- 
tions or close paraphrases, and betray in no uncertain 
manner the imitative temper of his Muse. The rest 
are best described as adaptations from foreign models. 
Though the source of a small number of them has not yet 
been revealed, we may reasonably expect that one day 
the totality of his poems, with few exceptions, will 
be found to have been composed according to a given 
pattern, more or less vividly present in the poet's 
mind. All claim to originality he must forgo ; 
when Ward writes that " the many productions of his 
pen which are wholly original afford ample proof that 
it was not from poverty of invention that he became a 
borrower/' we see ourselves compelled to impugn, nay 
to traverse, that judgment, not forgetting that his 
recent editor was unaware that the Scottish poet had 
drawn from so many varied sources. 

Sufficient has been said, we think, to arrive at a more 
exact determination of Drummond's position in the 
hierarchy of English poetry. In one half roughly of his 
verse he may justly lay claim to a high rank as a poet of 
the school of imitation ; he adapted, but his adaptations 
are impregnated with a charm essentially his own, and 

1 Probably Drummond's natural bent towards imitation was 
strengthened by the example of his favourite Italian poet. In the 
preface to La Lira Marino writes : " Non si nega, che quasi tutti i 
Poeti tanto antichi quanto moderni, eziando i piu eccellenti, non 
abbiano usato di rubarsi 1' un 1' altro, e troppo sarebbe chi volesse fame 
minuto racconto. Ma chi ruba, e non sa nascondere il suo furto, 
merita il capestro ; e bisogna saper ritignere d* altro colore il drappo 
della spoglia rubata, actio che non sia con facilita riconosciuto." 
Unfortunately Marino did not succeed, any more than Drummond, 
in hiding his thefts. In the sonnets alone, he borrows from the 
Humanists (especially Pontanus), from the Quattrocento (Serafino, 
Tebaldeo), from the Cinquecento (Tansillo, Tasso, Guarini), from 
Marot, and from Lope de Vega. In the longer pieces, and in V Adone, 
his debt is no less marked. 


clothed in a form well-nigh impeccable. Nevertheless, 
even as an imitative poet, he cannot pretend to the highest 
rank ; for that, his range is too limited, confined as it is 
to some hundred and thirty sonnets, about the same 
number of madrigals and epigrams, and less than a score 
of longer pieces. In his remaining poetic achievement 
Drummond is an imitator pure and simple, writing with 
a specific model before him, and producing verse which, 
distinguished as it is by exquisite diction and perfect 
craftsmanship, can nevertheless be regarded only as the 
exercises at vacant hours of a gifted poetic artist. 


No attempt having hitherto been made to draw up a 
bibliography of the poetical works of Drummond of 
Hawthornden, it seemed to us that the present edition 
would be incomplete if that task were left unaccomplished, 
more especially as the bibliography of the Scottish poet's 
works presents several features of unusual interest. It 
has been in many ways a complicated piece of work, as 
the original editions are of extreme rarity, and also because 
the production of his books was apparently Drummond's 
favourite hobby to which he brought great care bordering 
on finicalness, which the peculiar bent of his tempera- 
ment, and his position free from all monetary preoccupa- 
tions, enabled him to indulge to the full. 

The following is a list chronologically arranged of 
his poetical works. A facsimile of the title-page of all 
the original editions is reproduced in the Bibliograprry, 
except in the case of those editions which have served as 
the basis of our text. Of these the facsimiles will be found 
in the proper place in the body of the present work. 

Edinburgh, 1613. 

For facsimile of title-page see plate 2 facing p. xlvi. 
Description and collation according to the Britwell 
Court copy : 

[Tide-page arranged within a narrow ornamental border 
(163-103 mm.) of filigree] [ornament (100-27 mm.) com- 
posed of cherubs, dolphins, fishes, and rabbits] TEARES | 



ON THE DEATH | of Meliades. | [ornament (48-51 
mm.) ; woman's head between two cornucopiae, and with 
the initials "A H " at foot] EDINBVRGH, | Printed by 
Andro Hart, and are to be | sold at his shop on the North-side 
of the high streete^ | a litle beneath the Crosse. 161 3. | 

4to. (180-133 mm.). 6 leaves without foliation or 
pagination ; A-B2 (unsigned, except Bi). 

[Collation] : Leaf [i] a Title ; leaf [i] b [Ornament (89- 
20 mm.) composed of floral scrolls containing two birds, 
rose, thistle, and in the centre a shield bearing " A " over 
a heart] "To the Author." [A sonnet of fourteen lines 
beginning] " In wanes of TVoe thy sighes my soule doe tosse" 
[ends] " The best applause that can such notes approue." 
[signed] "S. W. Alexander." [The whole of this 
page and Pp. [3-9] are enclosed within a filigree border ;] 
A2 a -Bi a (Pp. [3-9]) TEARES | ON THE DEATH 
I of Meliades. | (P. [9]) [ends] "From ruddy Hesp'rus 
rising to Aurore." | " W. D r " \ "FINIS." | [Mask orna- 
ment (48-51 mm.); as on the title-page]; Bi b (P. [10]) 
[Ornament resembling a spear-head of which the greatest 
dimensions are 44-30 mm.] " OF JET, \ Or Por- 
pherie, I Or that white stone" | [A poem of thirteen lines 
in the form of a pyramid, with a border of type ornament 
(132-8 mm.) at foot, and one of a single rule at top and 
on right-hand side of page] ; B2 a (P. [1 1]) " Stay Passenger, 
see where enclosed lyes," [an epitaph of fourteen lines 
signed " W. D r " at foot, under a monumental arch sup- 
ported by pillars, apparently composed of printer's leads and 


rules] ; B2 b [P. 12] (blank). 

It will be noticed that this edition of Teares on the Death 
of Meliades bears no specification of the edition. There is 
an edition, to be noticed subsequently, which is specifically 
called the " third " edition, and which appeared in 1614. 
No other edition, apart from these two, has ever been dis- 
covered or recorded. We are thus at the outset faced with 
a problem in the bibliography of Drummond's poetical 
works. The most obvious explanation is that there 
never was a third edition, and that the edition of 1614 
was so called either inadvertently, or possibly, by a device 
of the printer's, to mislead the public into believing that 






Printed by AndroHart,andare to be 

fold At hisjhof on the l^orth-fideofthe highftreete^ 
a litle beneath the Crone, itfij* 

Plate 2.— Facsimile of Title-Page. 

Facing j>age xlvi 


the sale, and therefore the success of the Laird of 
Hawthornden's lament had been greater than it really 
was. However, if it be admitted that there were really 
three editions of T eaves on the Death of Meliades, the 
absence of one of the three editions may be accounted for 
by a peculiar habit which Drummond had, and to which 
we shall revert presently, of printing privately before 
actual issue to the public, some copies equalling the 
number of his intimate friends. In this way we may 
assume the existence of a private pull of Teares on the 
Death of Meliades, probably, though not necessarily, before 
the 1613 edition. It is true that the existence of any 
such copy has never been recorded, but such issues would 
be very limited in number, and therefore very scarce. 
Of the 1613 edition of Teares on the Death of Meliades one 
copy only is known, and that is to be found in the library 
of Mr. S. R. Christie Miller, at Britwell Court in Bucking- 
hamshire. It was formerly Corser's copy, and is described 
by him in his Collectanea Anglo-Poetica (Part vi. p. 311). 
The other copy mentioned by Corser as being in the 
library of the University of Edinburgh (presented, along 
with other of his works, by Drummond himself) has, we are 
informed, disappeared within recent times, and may 
possibly be reposing on the other side of the Atlantic. 

II ( = B) MAVSOLEVM. Edinburgh, 1613. 

For facsimile of title-page see plate 3 facing p. xlviii. 
Description and collation according to the copy in the 
Advocates' Library, Edinburgh : 

[Ornament (102-28 mm.) composed of cherubs, dolphins, 
fishes, and rabbits.] MAVSOLEVM | OR, | THE 
CHOISEST FLOWRES | of the Epitaphs, written on the 
Death I of the neuer - too - much lamented | PRINCE 
HENRIE. I Cosa hella mortal passa, e non dura. \ [Orna- 
ment (49-52 mm.) ; woman's head between two cornucopiae, 
and the initials "A. H " at foot] EDINBVRGH | Printed 
by Andro Hart. Anno Dom. 161 3. | 


4to. (184-133 mm.). 8 leaves without foliation, pagina- 
tion, or signatures. 

[Collation]: Leaf [1] Title (verso blank); Leaf [2] a 
OF I the Epitaphs, written on the Death of the neuer- | too- 
much lamented Prince Henry. | EPIT. i | Loe here 
intomb'd a peerelesse Prince doth lie," . . . [fourteen lines, 
signed] "W. Q." [below on same page] "2 | Occidit ante 
diem juvenum flos, gloria stirpis" . . . [twelve lines, 
signed] "Walter Quin." ; Leaf [2] b "3 | Stay Passenger, 
see where enclosed lyes," . . . [fourteen lines, signed] 
" JV. D" [below on same page] "4 | A Passing glance, a 
lightning long the skies" . . . [fourteen lines, signed] 
u W. D" ; Leaf [3] a u 5 | [crown ornament (26-28 mm.)] 
OF JET, I Or Porpherie," I . . . [thirteen lines in 
form of a pyramid, signed] " W. Drummond" ; [type 
ornament (120-7 mm.)]; Leaf [3P "6 | Faire Britaines 
Prince in th' Aprill of his yeares ; " . . . [fourteen lines, 
signed] " Ignoto" ; [below on same page] "7 | Cib cKil 
Pianeta che distingue Lahore" . . . [four lines, signed] "Ignoto." 
[followed by] "8 | Why Pilgrime doest thou stray" . . . 
[nine lines, signed] "Ignoto"', Leaf [4]** "9 | Here lies the 
Worlds delight," . . . [twenty-one lines, signed] "Ignoto." 
[below on same page] "10 | Crudeli crudaque Patri, 
Patriaque ruina" . . . [four lines, signed] "Hugo 
Hollandus." [followed by] " 1 1 | Death (that by stealth did 
wound Prince Henries heart) "... [six lines, signed] 
" George Wyther" ; Leaf [4] 13 " 12 | Two Kingdomes strove 
for Intrest in one Prince," . . . [four lines] [below on 
same page] "13 | I liv'd three Kingdomes hope, foes terror, 
parents life," . . . [two lines, signed] "Robert Allyne." 
[followed by] " 14 | Whom all the vaste frame of the fixed 
Earth" . . . [four lines] — "15 | Blest be his great Begetter, 
blest the Wombe "... [six lines, signed] " Geor. Chapman" 
— " 16 I Did he die young ? Oh no, it could not be," . . . 
[four lines, signed] " William Rowley." [Ends] " FINIS." 

A good deal of doubt has hitherto existed on the 
question of priority of publication as between Teares on 
the Death of Meliades (1613), and Mavsolevm. The late 
Professor Masson, in his Life of Drummond, 1 assigns 

1 Drummond of Hawthornden : the Story of his Life and Writings, 
P- 37- 




of the Epitaphs, written on the Death 

of the neuer^too^mucb lamented 


Qofa betta mortal paffa, e non dura^* 



Printed by sAndro Hart, AnnoDom. itfi;. 

Plate 3. — Facsimile of Title-Page. 

Facing page xlviii. 


priority of publication to Mavsolevm. Other authorities 
place T eaves on the Death of Meliades first ; but from 
neither side is any corroborative evidence forthcoming. 
Corser [op. cit. p. 313), steering a middle course, thinks 
that Mavsolevm was probably published at the same time 
with Teares on the Death of Meliades, though he too gives 
no reasons for his conclusion. Apart from what has 
been said above on the existence of a privately printed 
issue of Teares on the Death of Meliades, we have no hesita- 
tion in placing Mavsolevm second, for the following 
reasons : Mavsolevm, it can be shown, consists almost 
entirely of reprinted matter, and thus, in all probability, 
the two pieces by Drummond (the epitaph-sonnet and the 
pyramid-epitaph), which figure both in Mavsolevm and 
in the 1613 edition of Teares on the Death of Meliades, 
had already appeared in the latter composition. The 
extended title of Mavsolevm — Mavsolevm, or the choisest 
Flowres of the Epitaphs, written on the Death of the 
neuer -loo -much lamented Prince Henrie — points, we 
venture to think, distinctly in that direction. Moreover, 
of the three pieces (not one, as Professor Masson states) 
contributed by Drummond to Mavsolevm, one (" A Passing 
Glance/' etc.) does not reappear till the third edition of 
Teares on the Death of Meliades ; it could not have ap- 
peared in the 1613 edition of Teares, because, so we conclude, 
Drummond's share of Mavsolevm was not yet penned. 
Lastly, a very important fact, which was only revealed by 
careful comparison of the two works concerned, appears 
to decide the question of priority definitely in favour 
of the 1613 edition of Teares on the Death of Meliades ; 
the epitaph-sonnet (" Stay Passenger," etc.), which is found 
both in Teares on the Death of Meliades (1613) and in 
Mavsolevm, appears in the latter in a version differ- 
ing widely from that occurring in Teares on the Death 
of Meliades — so widely that the epitaph-sonnet may be 
said to have been recast. Now, of these two versions of 
the epitaph-sonnet the one adopted in the 1614 edition of 
vol. 1 4 


T eaves on the Death of Moeliades, and subsequently in 
the Poems (1616), is the version found in Mavsolevm, and 
not the version found in the 1613 edition of Teares on the 
Death of Meliades. Obviously then, the form of the sonnet 
in Mavsolevm, represents a revision of a poem that had 
appeared in a previous publication, which is equivalent 
to saying that the 16 13 edition of the Teares on the Death 
of Meliades was published before Mavsolevm. If not, we 
should have to suppose that Drummond, after recasting 
the epitaph-sonnet to the extent of emending, as is the 
case, eight out of fourteen verses for the 1613 edition of 
Teares on the Death of Meliades, went back to the original 
unemended version for the 1614 edition of Teares on the 
Death of Moeliades and for the Poems (1616). This we 
claim is a reductio ad absurdum. 

This little tract is extremely rare ; two copies only are 
known — one in the Advocates' Library in Edinburgh, and 
another, formerly Corser's, at Britwell Court. The copy 
recorded in the catalogue of the books presented by 
Drummond to his Alma Mater, and quoted by Corser as 
being in the library of the University of Edinburgh, 
appears to be irretrievably lost. 

Mavsolevm, it may be noted, has been reprinted in the 
First Series of David Laing's Fugitive Scottish Poetry of 
the Seventeenth Century (Edinburgh, 1853), among other 
curious pieces. 

MOELIADES. Edinburgh, 1614. 

For facsimile of title-page see plate 4 facing p. 1, and 
plate 5 facing p. lii. 

Description and collation according to the Edinburgh 
University copy : 

[Ornament (100-27 mm > composed of cherubs, dolphins, 
fishes, and rabbits] TEARES | ON THE DEATH | OF 
Moeliades. | By WILLIAM DRVMMOND | OF 

I Hawthorneden. | [Rule] | 77?^ third Edition. | [Rule] | 





The third Edition. 


Printed by Andro Hart. 

Plate 4.— Facsimile of Title-Page. 

Facing page 1. 


[crown ornament (27-25 mm.)] EDINBVRGH | Printed 
by Andro Hart. | 1614. 

4to. (267-203 mm.). 8 leaves without foliation or pagina- 
tion ; A - B 4 (signed, except Ai, 4, B2-4). 

[Collation] : Leaf [i] a Title ; Leaf [i] b [ornament (89-20 
mm.) composed of floral scrolls containing two birds, rose, 
thistle, and in the centre a shield bearing " A " over a heart.] 
"To the Author." [a sonnet signed] "S r . W. Alex- 
ander."; A2 a -Bi a (Pp. [3-9]) [ornament (74-12 
mm.) ; woman's head between two cornucopiae.] " TEJRES 
I ON THE DEATH | of Moeliades." | (P. [9]) [ends] 
"From Thule to Hydaspes pearlie Shore." | "FINIS. | 
William Drvmmond." | [ornament (30-34 mm.) ; 
mask in centre with the initials "A. H." at foot]; Bi b 
(blank); B2 a (P [n]) [three ornaments, the first a crown 
(27-25 mm.), the other two (each 26-19 mm.), side by side 
beneath the crown, of rose and thistle design respectively] 
"OF JET, I Or Porphyrie, | Or that white Stone" 
I ... [a poem of thirteen lines in the form of a pyramid, 
with a border of type filigree ornament at foot (126-7.5 mm.), 
and a single rule on either side of the page] ; B2 b (blank) ; 
■^3 a (P* [ J 3]) "Stay Passenger, see where enclosed lyes," [an 
epitaph of fourteen lines, under a monumental arch supported 
by pillars, apparently composed of printer's leads and rules] ; 
B3 b (blank); B4 a (P. [15]) "Sonnet. \ A Passing Glance, 
a Lightning long the Skies" | . . . [signed] William 
Drvmmond. | ; B4 13 (P. [16]) [type ornament (87-11 mm.) 
" To the Reader" [seven and a half lines of prose, on the 
use of the name "Moeliades"] ; [Ornament (52-41 mm.) ; 
horned mask with tassels]. 

It has already been pointed out that this edition of 
Teares on the Death of Moeliades is specifically called the 
" third " edition. Whether it was so must remain a moot 
point, and we can only refer the reader to what has been 
previously said on this question, with the additional 
remark, which is not without significance, that this is the 
only one of all Drummond's poetical works on the title- 
page of which any mention is made of the edition. 

There appear to have been two issues of this edition, 
each with a differing title-page, though identical in other 


respects. Of the issue, with the* title-page reproduced in 
plate 4, there is a copy, on large paper, of which the collation 
is given above, in the library of the University of Edin- 
burgh, bound in a contemporary full leather binding, 
together with a large paper copy of the second edition 
(1630) of Flowres of Sion. At the end of the volume is 
the following inscription in Drummond's hand — " Giuen 
to the Colledge of King James in Eden-Brough 1630." 
An edition, identical with the one just described, and 
also bound with the second edition of Flowres of Sion, 
formed part of the recently dispersed Huth collection, 
and is now in the United States. A third copy of this 
issue, on large paper, is also found in the body of the 
Haigh Hall copy of the curious issue of the Poems (? 1614),* 
which will be next described. Of the issue with the title- 
page reproduced on plate 5, there are likewise three 
copies — two in the library of the University of Edinburgh, 
and one bound in the body of the Bodleian copy of the 
Poems (? 1614). These two were probably printed on 
large paper, but in their present state are considerably 
cropped. One of the two copies with this title-page, in 
the library of the University of Edinburgh, is bound with 
Josuah Sylvester's Lachrimce Lachrimarum, or The Dis- 
tillation of Teares Shede For the vntymely Death of The 
incomparable Prince Panaretvs. London : Printed by 
Humfrey Lownes, 1612. At the foot of the title-page of 
Sylvester's Lachrimce is the inscription, in Drummond's 
hand, " Giuen to king James his Colledge By W D." 

IV ( = D) POEMS. ?i6i 4 . 

For facsimile of title-page see plate 6 facing p. liv. 
Description and collation according to the Haigh 
Hall copy : 

[Ornament (101-28 mm.) composed of cherubs, dolphins, 
fishes, and rabbits] POEMS | BY | WILLIAM DRVM- 
MOND. I OF I HAWTHORNDEN. | [ornament (52- 
42 mm.); horned mask, with tassels] | [ornament (81-15 
mm.) ; floral scrolls with winged horse] | 




The third Edition, 


Printed by Andro Hart, 

Plate 5. — Facsimile of Title- Page. 

Facing page Hi. 


4to., except the title which is a folio leaf (269-204 mm.). 
69 leaves, without foliation, pagination, or signatures, printed 
on one side only, sometimes on the recto, and sometimes on 
the verso, but without any regularity. 

A plate of the same size as the title-page, consisting of an 
early impression before letters of the engraved portrait of 
Henry, Prince of Wales, executed by Simon de Passe at 
Utrecht in 1612, has been inserted as a frontispiece. The 
inscription which is found on the later impressions reads : 
"Si : Pass: sculp: A° 161 2." 

The leaves which have been printed in pairs are as 
follows: [2]-[ 3 ], [ 4 H7l [8]-[9], [»H"1 ['3H'4l 
[15H16], [19H20], [21H22], [24H25], [35H36], [39]- 
[42], [40H41], [44H45], [48H491 [5i]-[56], [52H55], 
[53H54], [59]"[6o], [66]-[6 7 ], [68H69]. 

[Collation] : [An inserted leaf, consisting of an engraved 
portrait of Henry, Prince of Wales, described in the pre- 
ceding note.] Leaf [i] a Title (verso blank) ; [2] a (blank) ; 
[2] b « TO THE AVTHOR | PARTHEN1VS | " [a 
sonnet of 14 lines commencing] " While thou doest praise the 
Roses, Lillies, Gold" "Alexis." [a sonnet of 14 lines com- 
mencing] " The Loue Alexis did to Damon beare" ; [3] a 
"Clorus." [a poem of 13 lines commencing] " Swanne which 
so sweetly sings" "Moeris." [a sonnet of 14 lines com- 
mencing] " The sister Nymphes which haunt the Thespian 
Springs," ; [3]** (blank) ; [ 4 ] a (blank) ; [4]* "THE FIRST 
I Part. I " [a sonnet of 14 lines commencing] "In my first 
Prime, when childish Humors fed " " SON." [of 14 lines 
commencing] " I know that all beneath the Moone decayes," ; 
[5] a "SON." [of 14 lines commencing] "Yee who so 
curiously doe paint your Thoughts," "SON." [of 14 lines 
commencing] " Aye me, and I am now the Man whose Muse" 
[5] b ( blank) ; [6] a " SON." [of 14 lines commencing] " How 
that vaste Heauen intitl'd First is rold," "SON." [of 14 
lines commencing] " Faire is my Yocke, though grieuous be 
my Paines," ; [6] b (blank) ; [7] a "SON." [of 14 lines com- 
mencing] " Vaunt not, faire Heauens, of your two glorious 
Lights," "SON." [of 14 lines commencing] "When Nature 
now had wonderfully wrought" ; [7P (blank) ; [8] a (blank) ; 
[8] b "SON." [of 14 lines commencing] "Now while the 
Night her sable Vaile hath spred," "SON." [of 14 lines 
commencing] " Sleepe, Silence Child, sweet Father of soft 
Rest,"; [9] a "SON." [of 14 lines commencing] "Faire 


Moone who with thy cold and siluer Shine," "SON." [of 
14 lines commencing] "Lampe of Heauens Christall Hall 
that brings the Houres," ; [gf (blank); [io] a "SONG." 
[32 lines commencing] a 2t was the time when to our 
Northerne Pole"; [io] b (blank); [u] a (blank); [up 
[song continued, 32 lines commencing] u The Nymphes oft 
here do bring their Maunds with Flowres," ; [i2] a [song 
continued, 32 lines commencing] " The season, silence, place, 
began fentise," ; [i2] b (blank); [l3] a (blank) ; [13P [song 
continued, 32 lines commencing] " When to the Floud they 
ran, the Floud in Robes"; [14]* [song continued, 32 lines 
commencing] " Two foaming Billowes flowed vpon her brest " ; 
[14P (blank); [15]* (blank); [15P [song continued, 32 
lines commencing] " O that I were while Shee doth in you 
play," ; [i6] a [song continued, 32 lines commencing] " But 
long it did not bide, when poor e those streames " ; [i6] b (blank) ; 
[i7] a (blank) ; [17P [song concluded, 28 lines commencing] 
" For which he vow y d nfre Armes more to put on" [and 
ending] cc Awaked, 1 found that Time, and Place presented" ; 
[i8] a (blank); [i8] b "SON." [of 14 lines commencing] 
"Ah burning Thoughts now let me take some Rest," 
"SON." [of 14 lines commencing] "That learned Grecian 
who did so excell"; [19]* (blank); [io/] b «SON." [of 14 
lines commencing] "Nor Arne, nor Mincius, nor stately 
Tiber," "SON." [of 14 lines commencing] "To heare my 
plaints faire Riuer Christalline " ; [2o] a "SON." [of 14 
lines commencing] " Sweet Brooke, in whose cleare Christall 
I my Eyes" "SON." [of 14 lines commencing] "With 
flaming Homes the Bull now brings the yeare," ; [2o] b 
(blank); [2i] a "SON." [of 14 lines commencing] "That 
I so slenderlie set forth my Minde," " MADRIGALL." [of 
12 lines commencing] " When as Shee smiles I finde" ; [2i] b 
(blank); [22] a (blank); [22] b "SON." [of 14 lines com- 
mencing] "My Teares may well Numidian Lions tame," 
"SON." [of 14 lines commencing] "You restlesse Seas 
apease your roaring Waues," ; [23P "SONNET." [of 14 
lines commencing] "If crost with all mishaps be my poore 
Life," "SON." [of 14 lines commencing] "All other 
Beauties how so e're thev shine " ; [23P (blank) ; [24J 1 
(blank) ; [24P "SEXTAIN." [27 lines commencing] " The 
Heauens doth not containe so many Starres," ; [25P [sextain 
continued, 12 lines commencing] " The Elements, renew 
their ancient Warres " [ending] " For all haue sworne no 


B Y 




Plate 6.— Facsimile of Title-Page. ? Edinburgh, ? 1614. 

Facing page liv. 


Night shall dimme my Sight." "SON." [of 14 lines com- 
mencing] " O sacred Blush enpurpling Cheekes pure Skies " ; 
[25] b (blank); [ 2 6] a (blank); [>6] b «SON." [of 14 lines 
commencing] "Sound hoarse sad Lute, true witnesse of my 
woe," "SON." [of 14 lines commencing] "In vaine I 
haunt the cold and Siluer Springs,"; [27] a "Son." [of 14 
lines commencing] "Slide soft faire Forth, and make a 
Christall Plaine," " SON." [of 14 lines commencing] " Trust 
not sweet Soule those curled Waues of Gold " ; [27P 
(blank); [ 2 8] a (blank); [ 2 8] b "SON." [of 14 lines com- 
mencing] " In Minds pure Glasse when I my selfe behold," 
"SON." [of 14 lines commencing] "Deare Quirister who 
from those shadowes sends" ; [29J 1 (blank) ; [29P "SON." 
[of 14 lines commencing] "O Cruell Beautie, sweetnesse 
inhumaine," "SON." [of 14 lines commencing] "The 
Hyperborean Hills, Ceraunus Snow," ; [3o] a (blank) ; [30] b 
"SONG." [30 lines commencing] "PHOEBUS arise,"-, 
[3i] a [song continued, 17 lines commencing] "Now Flora 
decke thy selfe in fairest guise" [ending] "And nothing 
wanting is saue Shee alase" "SON." [of 14 lines commenc- 
ing] "Who hath not seene into her saffran Bed"; [jip 
(blank); [32] a "SON." [of 14 lines commencing] "Of 
Cithereas Birdes that milke-white paire" "SON." [of 14 
lines commencing] "The Sunne is faire when he with 
crimson Crowne," ; [32^ (blank) ; [33J* " MADRIGALL." 
[of 14 lines commencing] "Like the Idalian ^ueene" 
"SON." [of 14 lines commencing] "Then is she gone ? O 
foole and Coward I!"; [33^ (blank); [34]* "SON." [of 
14 lines commencing] " What cruell Starr e into this World 
me brought? " "SON." [of 14 lines commencing] "Deare 
Eye which daign'st on this sad Monument" ; [34] b (blank) ; 
[35] a "MAD." [of 13 lines commencing] "To the delight- 
full Greene" "SON." [of 14 lines commencing] " Nymphes 
Sister Nymphes which haunt this christall Brooke,"; [35P 
(blank); [ 3 6] a (blank); [ 3 6] b "SON." [of 14 lines com- 
mencing] " Shee whose faire flowers no Autumne makes decay," 
"MAD." [of 12 lines commencing] "Sweete Rose whence 
is this hue"; [37] a (blank); [37P "MAD." [of 14 lines 
commencing] "On this colde World of Ours ," " SON ." [of 
14 lines commencing] " Deare Wood, and you sweet solitarie 
Place,"; [ 3 8] a (blank); [ 3 8] b "SON." [of 14 lines com- 
mencing] "Ah who can see those fruits of Paradise" 
"SON." [of 14 lines commencing] "Is't not enough (ay 


me) me thus to see"; [39] a (blank); [39P " MADR- 
GALL." [sic. !] [of 12 lines commencing] " frnhappie Light" 
"SON." [of 14 lines commencing] "With Griefe in 
Hart, and Teares in swelling Eyes," ; [4-o] a (blank) ; [40P 
"SEXTAIN." [26 lines commencing] " Sith gone is my 
Delight and onelie Pleasure," ; [4i] a [sextain continued, 13 
lines commencing] " Or when her siluer Lockes she lookes for 
Pleasure " [ending] " Shall see you shed by Mountaine, Vaile, 
and Fountaine." "SON." [of 14 lines commencing] 
"Window some time which serued for a Spheare"; [4-i] b 
(blank); [42J 1 "SON." [of 14 lines commencing] " How 
many times Nights silent Queene her face" "SON." [of 14 
lines commencing] " Of Death some tell, some of the cruell 
Paine"; [42]* (blank); [43]- "SON." [of 14 lines com- 
mencing] " Haire precious haire which Midas hand did 
straine" "SON." [of 14 lines commencing] "Are these the 
flowrie bankes ? is this the Mead" ; [43P (blank); [44J 1 
(blank); [44P "SON." [of 14 lines commencing] "Alexis 
here shee stay'd, among these Pines" "SON." [of 14 lines 
commencing] " Place me where angrie Titan burnes the 
More" ; [45}* "MAD." [of 12 lines commencing] " The 
Yuorie, Corrall, Gold" "SON." [of 14 lines commencing] 
" Fame who with golden pennes abroad doth range " ; [45] b 
(blank); [ 4 6] a (blank); [ 4 6] b " THE SECOND | PART. 
I [a sonnet of 14 lines commencing] " Of mortall Glorie O 
Soone darkened Raye !" "SON." [of 14 lines commencing] 
"Those Eyes, those sparkling Saphires of Delight,"; [47] a 
"SON." [of 14 lines commencing] "O Fate conjur'd to 
poure your worst on me" "SON." [of 14 lines com- 
mencing] " O Wofull life ! life, no, but liuing Death," ; 
[47 ] b (blank) ; [ 4 8] a (blank) ; [ 4 8] b "SON." [of 14 lines 
commencing] " Mine Eies dissolue your Globes in brinie 
Streames," "SON." [of 14 lines commencing] "Sweet 
Soule which in the Aprile of thy yeares" ; [49] a "SON." 
[of 14 lines commencing] "Sweet Spring thou turnes with 
all thy goodlie traine," "SON." [of 14 lines commencing] 
" What doth it serue to see Sunnes burning Face ? " ; [49P 
(blank); [50J 1 "MADRIGAL." [of 12 lines commenc- 
ing] "This Life which seemes so faire," "SON." [of 14 
lines commencing] "My Lute be as thou was when thou 
did grow " ; [5o] b (blank) ; [ 5 i] a "SON." [of 14 lines com- 
mencing] " Ah Napkin^ ominons [sic /] present of my Deare," 
"MAD." [of 10 lines commencing] "Trees happier farre 


then I,"; [5i] b (blank); [52J 1 (blank); [52] b "SONG." 
[32 lines commencing] " Sad Damon being come" ; [53] a 
[song continued, 34 lines commencing] " Why doe outragious 
fates which dimm'd thy sight" ; [53^ (blank) ; [54] a (blank); 
[54] b [ son g continued, 34 lines commencing] "Ah Deaoh 
[sic/] who shall thee flie" ; [55] a [song continued, 32 lines com- 
mencing] " That in the saddest Months oft song the Mearles" 
[ending] " The Dolefull Cause for which yee spring-vp heere" ; 
[55] b (blank) ; [56J 1 (blank) ; [56] 13 "MAD." [of 11 lines 
commencing] "The Beautie and the Life" "SON." [of 
14 lines commencing] "O ! It is not to me bright Lampe 
of Day,"; [57J 1 (blank); [57P "MAD." [of 13 lines 
commencing] " Deare Night the ease of Care," "SON." 
[of 14 lines commencing] "Sith it hath pleasd that First 
and supreme Faire " ; [58J 1 " SONG." [32 lines commenc- 
ing] " // Autumne was, and on our Hemispheare" ; [58] b 
(blank) ; [59J 1 (blank) ; [59P [song continued, 32 lines 
commencing] " Her Grace did beautie, Voyce yet Grace did 
passe" ; [6o] a song continued, 32 lines commencing] 
" For all the Pleasures which it intertaine " ; [6o] b (blank) ; 
[6i] a (blank) ; [6i] b [song continued, 32 lines commencing] 
" Doth Hue ? ah ! {if thou canst) through Teares a space " ; 
[62] a (blank) ; [62] b [song continued, 32 lines commencing] 
" But there, Flowres doe not fade, Trees grow not old," ; [63J 1 
[song continued, 32 lines commencing] " The diuerse 
Shapes of Beasts which Kinds forth bring" ; [63P (blank) ; 
[64J 1 (blank) ; [64P [song continued, 32 lines commenc- 
ing] " How Fame an Eccho is, how all Renowne " ; [65J 1 
[song concluded, 24 lines commencing] " The Wonders all 
in Sea, in Earth, in Aire," [ending] " Seemed to haue brought 
the Gold smiths World againe. " [ornament composed of 
type ornaments (70-10 mm.)] ; [65P (blank) ; [66] a (blank) ; 
[66] b "VRANIA." [small ornament (11-5 mm.)] [a 
sonnet of 14 lines commencing] "Triumphing Chariots 
Statues, Crownes of Bayes," [small ornament as above] [a 
sonnet of 14 lines commencing] "Too long I followed haue 
my fond Desire," ; [67} 1 [small ornament as above] [a 
sonnet of 14 lines commencing] "To spread the Azure 
Canopie of Heauen," [small ornament as above] [a sonnet 
of 14 lines commencing] "What haplesse Hap had I 
for to be borne"; [67P (blank); [68] a (blank); [68] b 
"ON THE POVRTRAIT | of the Countesse of Perthe. | 
SONNET. I " [of 14 lines commencing] "The Goddesse 


that in Amathus doth raigne," "SON." [of 14 lines com- 
mencing] "If Heauen, the Starres, and Nature did her 
grace" ; [6 9 ] a "ON" THAT SAME DRAWEN | with a 
Pansee. | SON. | " [of 14 lines commencing] "When with 
braue Art the curious Painter drew" "MADRIGALL" 
[of 7 lines commencing] " If sight be not beguild" [ending] 
" No wonder^ Earth findes now moe Sunes then one?' ; [69P 

Bound with the 'Poems are the two other pieces 
following : 

[Ornament (100-27 mm.) composed of cherubs, dolphins, 
fishes, and rabbits ; the same design as that on the title-page 
of the Poems^ but much worn, or very faintly printed, 
and varying slightly in size, as though it had contracted to 
the extent of one millimetre both in length and in height] | 
I BT WILLIAM DRVMMOND | OF | Hawthorneden. \ 
[Rule] I The third Edition. | [Rule] | [Crown ornament 
(27-25 mm.)] I EDINBVRGH | Printed by Andro Hart. | 

l6l 4 I 

4to. (269-204 mm.). 8 leaves without foliation or pagina- 
tion, but with signatures on A2, A3, and Bi, and printed 
regularly on both sides of the first four leaves. A-B 4 . 
The leaves have been printed in pairs (except [6] and [7]) 

as follows: [i]-[4l l>H3l [5-»]. 

[Collation]: Leaf [i] a Title ; [i] b [Ornament(89-20mm.) 
composed of floral scrolls containing two birds, rose, thistle, 
and in centre a shield bearing "A" over a heart] "To the 
Author." [a sonnet of 14 lines commencing] "In Wanes of 
Woe thy Sighes my Soule doe tosse" [signed] "S R . W. 
ALEXANDER." ; [2] a (A2) [ornament (74-12 mm.) 
consisting of woman's head between two cornucopiae] 
[24 lines commencing] " O Heauens ! then is it true that 
Thou art gone," ; [2] b " Teares on the Death " [continued, 
30 lines commencing] "So Phoebus mounting the 
Meridians hight," ; [3] a (A3) " of Mceliades" [continued, 
30 lines commencing] " And in deare Arras^ Virgins 
faire had wrought " ; [3P " Teares on the Death " [con- 
tinued, 30 lines commencing] " Huge Streames of 
teares, which changed were in Floods " ; [4] a " of 


Mceliades." [continued, 30 lines commencing] " But ah 
(poore Louers) Death them did betray," ; [4] 13 " Teares 
on the Death " [continued, 30 lines commencing] " Our 
Losse not Thine (when we complaine) we weepe," ; 
[5] a (B) " of Moe Hades " [concluded, 22 lines commencing] 
" Moore sweeter Songs thou heares and Carrolings," [end- 
ing] "From Thule to Hydaspes pearlie Shore." | "FINIS." 
I " WILLIAM DRVMMOND." | [ornament (30-34 
mm.) ; mask in centre, with the initials " A. H." at foot] ; 
[5] b (blank) ; [6] a [three ornaments, the first a crown (27- 
25 mm.), the other two (each 26-19 mm.) side by side 
beneath the crown, of rose and thistle design respectively] 
"OF JET," [ending] U J Crystal Tomb to Him where- 
through his worth appears" [a poem of thirteen lines in the 
form of a pyramid, with a border of type filigree ornament 
at foot (126-7.5 mm.), and a single rule on either side of the 
page] ; [6] b (blank) ; [j] 3 - "Stay Passenger, see where 
enclosed lyes" [ending] "Thou saw where Earths Per- 
fections were confinde " [an epitaph of fourteen lines, under 
a monumental arch supported by pillars, apparently composed 
of printer's leads and rules]; [j] h (blank); [8] a "Sonnet" 
[commencing] " A passing Glance, a Lightning long the 
Skies" [signed] "WILLIAM DRVMMOND."; [8p 
[lace-like ornament (90-10 mm.)] " To the Reader" [8 
lines of prose, on the use of the name " Moeliades " for 
"Prince Henrie," ending] "MILES A DEO." [orna- 
ment (52-41 mm.) ; horned mask, with tassels]. 

[Lace-like ornament (120-21 mm.) composed of type orna- 
[ornament (52-42 mm.) ; horned mask, with tassels] | 
[lace-like ornament (120-18 mm.) ; parts of the upper 
ornament repeated] | . 

4to. (269-204 mm.). 19 leaves without foliation, 
pagination, or signatures, printed on one side only, on the 
recto and verso alternately, so that every two pages of 
printed matter, which are arranged to face each other, are 
followed by two blank pages. Fourteen of the leaves have 
been printed in pairs as follows : [2]-[7], [3]-[6], [4]-[5], 

[8H13], [9H"1 [io]-[»l [HH15]. The other 
leaves appear to have been printed singly. 

[Collation]: Leaf [i] a Title; [i] b (blank); [2] a 
(blank); [2] b "MADR1GALLS | AND EPI- 
GRAMMES." I "The Statue of MEDUSA." [8 lines], 


"The Portraite of MARS and VENVS." [10 lines], 
"NARCISSVS." [2 lines], "DAMETAS Dreame." [2 
lines], "CHERRIES." [6 lines]; [ 3 ] a "Icarus." [12 
lines], "On his Ladie, beholding her selfe in a Marble." 
[7 lines], "To sleepe." [9 lines]; [$f (blank); |>] a 
(blank); [4] b "A pleasant deceate " [10 lines], "The 
Canon." [6 lines], "Thais Metamorphose." [8 lines] ; [5] a 
"The qualitie of a kisse." [8 lines], "His Ladies Dog." 
[12 lines], "An Almanacke." [6 lines]; [5] b (blank); 
[6] a (blank); [6] b "The Silke-worme of Loue." [9 lines], 
"Deepe impression of Loue." [9 lines], "A Chaine of 
Gold." [8 lines] ; [7] a "On the Death of a LINNET." 
[10 lines], "LILLAS Prayer." [12 lines], "ARMELINS 
Epitaph." [n lines]; [7]* (blank); [8] a (blank); [8] b 
"EPITAPH." [8 lines], "A TRANSLATION." [9 
lines], "Epitaph." [8 lines], [a small type ornament (8-4 
mm.) followed by two lines] "Come Citizens erect to Death 
an Alter, \ That sau'd to you Axe, Fuell, Timber, Halter T ; 
[9] a "A IE AST." [14 lines], "Proteus of Marble." [6 
lines], "PAMPHILVS." [2 lines]; [gf (blank); [io] a 
(blank); [io] b " APELLES enamour'd of Campaspe | 
ALEXANDERS Mistresse." [10 lines], "Campaspe." [11 
lines], "CORNUCOPIA." [6 lines] ; [n] a "Loue suffers 
no Parasol." [10 lines], "Vnpleasant Musicke." [5 lines], 
"FLORAS Flowre." [8 lines]; [n] b (blank); [i2] a 
(blank); [i2] b "SLEEPING BEAVTIE." [8 lines], 
"ALCONS kisse." [8 lines], "The Statue of VENVS 
sleeping." [4 lines], "LAVRA to PETRARCH." [2 
lines] ; [13 ] a "The Rose." [10 lines], "A Louers Prayer." 
[8 lines], "IOLAS Epitaph." [10 lines]; [13P (blank); 
[i4] a (blank); [14] 13 "The Troian Horse." [11 lines], 
"For DORVS." [8 lines], "Loue vagabonding." [9 lines] ; 
[i5] a "To a Riuer." [12 lines], " Lida." [2 lines], 
"Phraene." [14 lines]; [i$] h (blank); [i6] a (blank); 
[i6] b "Kisses desir'd." [12 lines], "Desired Death." [12 
lines], " Phcebe." [2 lines], "Answer." [2 lines]; [i7] a 
(blank) ; [17]* "The Crueltie of RORA." [9 lines], "A 
Kisse." [9 lines], "KOLAS Complaint." [9 lines]; [i8] a 
"PHILLIS." [6 lines], "A WISH." [8 lines], " NISA." 
[4 lines], " A Louers Heauen." [9 lines], " EPITAPH." 
[2 lines] ; [i8] b (blank) ; [i9] a "Beauties Idea." [14 lines], 
LALVS Death." [9 lines] ; [iQp (blank). 


This curious and very valuable issue of the Poems, 
forming part of the collection at Haigh Hall, Wigan, 
exists in another copy in the Bodleian Library, of which 
the description follows : 

[Ornament (101-28 mm.) composed of cherubs, dolphins, 
fishes, and rabbits] POEMS | BY | WILLIAM DRVM- 
MOND. I OF I HAWTHORNDEN. | [ornament (52- 
42 mm.) ; horned mask, with tassels] | [ornament (81-15 
mm.) ; floral scrolls with winged horse] | . 

4to, except the title which is a folio leaf (200-155 mm.). 
69 leaves without foliation, pagination, or signatures, 
printed on one side only, sometimes on the recto and 
sometimes on the verso of the leaf, without any regularity, 
exactly as in the Haigh Hall copy, from which, apart 
from the dissimilarity in format, it only differs in that 
the four poems " To The Author," instead of occupying 
leaves 2 and 3, as in the Haigh Hall copy, occupy leaves 
68 and 69 at the end of " The Second Part " of the Poems ; 
and that the four sonnets entitled " Vrania " follow 
instead of preceding the poems addressed to the Countess 
of Perth. In the Oxford copy there is no engraved 
portrait of Henry, Prince of Wales, as a frontispiece, 
but an unsigned portrait of Drummond is inserted 
between the title-page and the commencement of the 
Poems. The rest of the volume, consisting of the 
third edition of Teares on the Death of Moeliades (1614) 
and of Madrigalls and Epigrammes, is also identical 
in its contents with the Haigh Hall copy, except that in 
the Oxford copy the issue of Teares on the Death of 
Moeliades, which does not bear Drummond's name on 
the title-page (see plate 5), has been bound with the 
Poems. It does not appear improbable that the 
difference of format between the Haigh Hall and the 
Oxford copy may be due to the fact that they were both 
made to suit the size of each of the two issues of Teares 
on the Death of Moeliades, with which they were respec- 
tively bound. The text of both copies is identical in 


every respect, and a perusal of the title-page of each copy 
shows that the date of publication and the printer's name, 
as well as the place of publication, are not indicated. 
The fact that in both copies the 1614 edition of Teares 
on the Death of Moeliades is bound in the body of the 
volume, between the poems proper and the Madrigalls 
and Epigrammes (an arrangement which, it may be 
noted, was adopted in the final edition of the Poems, 
1616), and also that the Oxford copy is bound in a con- 
temporary parchment binding, bearing on the back the 
title ' Drufnonds Epigrames,' shew pretty conclusively 
that this double inclusion of Teares on the Death of 
Moeliades is not a later addition, but was carried out at 
the poet's bidding. Thus it is legitimate to conclude 
that this advance issue of Drummond's Poems was 
not published before 1614. It was probably published 
in 1614, or possibly in 1615, the year before the publica- 
tion of the regular edition of the Poems. Drummond, 
we know, from what is said in the Preface of the first 
edition (1655) of his History of Scotland and repeated 
in the 171 1 folio edition of his Works, was in the habit 
of issuing his poems on loose sheets, as they came out, 
for circulation among his friends. Judging from their 
strange make-up, the Haigh Hall and Oxford copies of 
the Poems would represent a number of such loose 
sheets, collected and sent out by the poet privately to 
his friends, coupled with a revised edition of his first 
poetic production, the whole representing his combined 
output up to date. 

Evidence that this issue of the Poems was published 
by Andro Hart, and therefore in Edinburgh, is to be 
found in the use of his ornaments. This argument would 
not be conclusive without the additional evidence that 
Andro Hart was Drummond's only printer till the former's 
death in 162 1, after which date his successors continued 
to work for the Laird of Hawthornden. It may be noted 
that the Oxford copy, and to a less extent the Haigh 


Hall copy also, contain several corrections in Drummond's 
own hand. These have been duly recorded among the 

Curiously enough the great importance of this issue 
of the Poems has never been pointed out, and it has 
totally escaped the attention of former editors. The 
existence of the Oxford copy was not unknown to 
one or two bibliographers, but the description they give 
of it shows plainly, not to mention numerous errors and 
omissions, that they had no idea of its value. Thus 
Lowndes, 1 speaking of the 1616 edition of the Poems, 
says : "A copy on large paper, in 4to, printed on one side 
of the leaf only, containing a rare portrait of Drummond, 
was recently sold to the Bodleian for upwards of 30 
guineas. 2 It is doubtful whether the volume is a reprint 
or merely a new engraved title added to the unsold 
copies." W. Carew Hazlitt is no nearer the mark when 
he says in his Hand-Book 3 : "A copy of the Poems 
substantially identical with the common edition of 1616 
exists in the Bodleian, printed on one side only of the 
paper and with a differing title." The same biblio- 
grapher reverts to the Bodleian copy in the Fourth Series 
of his Bibliographical Collections and Notes (London, 
1903), and though he there describes it more fully and 
accurately, he does not withdraw the damaging statement 
that it is substantially identical with the edition of 1616. 
The Haigh Hall copy remained totally unsuspected by 
bibliographers, having but recently come to light. 4 

1 The Bibliographer's Manual of English Literature. London, 

2 We are informed that the Oxford copy was bought for ^52. 10s., 
in 1842. 

3 Hand-Book to the Popular, Poetical, and Dramatic Literature of 
Great Britain. London, 1867. 

4 The Haigh Hall copy is among the recent acquisitions of the late 
Lord Crawford. We owe our thanks to Mr. A. G. E. Phillips, the 
librarian at Haigh Hall, for having drawn our attention to this precious 
volume. It was purchased about three years ago from William Brown 
the Edinburgh bookseller. At the time of the purchase every effort was 
made to discover its provenance, but all Mr. Brown knew was that the 


The importance of the ? 1614 issue of the Poems 
is twofold. Firstly, its contents differ widely from the 
regular edition of the Poems published in 1616, both in 
extent and character ; the number of pieces in the ? 1614 
edition is considerably fewer, and those that appear in 
the two editions have in most cases been materially 
altered in the 1616 edition, as may be gathered from a 
rapid perusal of the variants, while a certain number of 
pieces figure in the earlier edition which are not found 
in that of 1616. Secondly, this early issue, and not that 
of 1616, formed the basis of Phillips's edition (1656) , and 
consequently the charge levelled against him of having 
tampered in an unwarranted manner with the text of 
Drummond will in future have to be considerably 
modified, if not altogether abandoned. The belief that 
he was the first to publish certain pieces, which appear 
in his edition but are wanting in the ordinary edition of 
the Poems, must likewise be relinquished. Those pieces 
form part of the ? 1614 issue, and were subsequently 
suppressed by Drummond for reasons unknown. They 
were published by Drummond himself, and must no 
longer be classed as posthumous poems discovered by 
Milton's nephew among the papers left behind by the 
Laird of Hawthornden. More details on this point will 
be given when we come to the description of Phillips's 
edition of the Poems. 

V (=E + F) POEMS. Edinburgh, 1616. 

For facsimile of title-page and frontispiece see plate 
7 facing p. lxiv, and plate 8 facing p. lxvi. 

Description and collation according to the Britwell 
Court copy : 

[Title arranged in three compartments of an architectural 
and floral border (180-129 mm.).] 

unbound volume (it has since been bound) had been in his stock-room 
for some twenty years, and was believed to have been bought at a 
roup sale in a small Scottish town. 

Plate 7.— Facsimile of Title-Page. 

Facing page Ixiv. 






BY | W. D. the Author of | the Teares on the Death | 
of Mceliades. I Edinbvrgh, | Printed by Andro Hart. 
1616. I 

63 leaves without foliation or pagination. 

4to. (184-133 mm.); A-P 4 ,Q 3 (signed with the excep- 
tion of Ai, A2, L2, L3, M3, M4). 

On a leaf facing the title-page has been inserted a plate 
by M. von Lochom. Within a framework in the back- 
ground are the figures of a jester and of a student. The jester 
is aiming a drawn bow at the student. In the foreground 
are two larger figures of jesters. 

[Collation] : Leaf [i] a Title (verso blank) ; A2 a (P. 
[3]) " To the Author " [A sonnet signed] " Parthenivs." 
(verso blank) ; A3 a -Gi b (Pp. [5-50]) [ornament (100-27 
mm.) composed of cherubs, dolphins, fishes, and rabbits.] 
"POEMS: I BYW.D. | [Rule] | THE FIRST PART." | 
[Rule] (P. [50]) [ends] " I may forget my Selfe, but not 
my Loue." [ornament (41-52 mm.) ; horned mask with 
tassels]; G2 a -l4 b (Pp. [51-72]) [ornament (100-28 
mm.) composed of cherubs, dolphins, fishes, and rabbits.] 
PART." I [Rule] (P. [72]) [ends] " SeenCd to haue brought 
the Gold-smiths World againe" [type ornament (33-18 
mm.) of lace-like pattern] ; Ki a (P. [73]) [Title with double 
rules above and beneath] "TEARES, | ON THE 
DEATH I of Mceliades ." | ; Kl b (P. [74]) " To the 
Author" I [A sonnet signed] " S r W. Alexander " ; K2 a - 
Li a (Pp. [75-81]) [ornament (92-12 mm.) of lace pattern] 
"TEARES, I ON THE DEATH | of Mceliades." 
I [ends, on line 12 of p. 81] "From Thuly to Hydaspes 
pearlie Shore" [Below, on same page, a sonnet] " A 
Passing Glance, 2. Lightning long the Skies"; Li b (P. 
[82]) "THE SECOND PART." | [Crown ornament (26- 
27 mm.)] " Of Iet, | Or Porphyrie, | Or that white 
Stone " I [An epitaph of thirteen lines in the form of a 
pyramid, with a border (105-27 mm.) of type filigree orna- 
vol. i e 


ment at foot] ; l>2 a (P. [83]) [Title with double rules 
above and beneath]: "VRANIA, | OR | Spirituall 
Poems." |; L2 b -M2 b (Pp. [84-92]) "VRANIA, \ OR \ 
Spiritual/ Poems? | (P. [92]) [ends] "It may a Sauiour, 
not a Iudge, thee finde? [ornament (52-40 mm.) ; horned 
mask with tassels]; M 3 a (P. [93]) « THE SECOND 
PART. I To the Author? | [A sonnet signed] " D. 
Murray? ; (verso blank) ; M4 a (P. [95]) [Title surmounted 
by a lace ornament (93-24 mm.), and ending with an orna- 
ment (48-51 mm.) consisting of woman's head between two 
cornucopiae and the initials " A. H " at foot] : " MADRI- 
GALLS, I AND | Epigrammes. | BY W. D? | ; (verso 
blank) j Ni a -Q3 b (Pp. [97-126]) [ornament (100-27 mm.) 
composed of cherubs, dolphins, fishes, and rabbits] 
[126]) [ends] "I trust thee with the Treasure of my Mind. 

This is the first of the two known issues of the Poems 
(1616). The unique copy, formerly Heber's, of this issue, 
with an engraved frontispiece by M. von Lochom, is in 
the possession of Mr. Christie Miller of Britwell Court. 

A second issue, styled " The second Impression " on 
the title-page, with a different title-page, facing page 1, 
vol. i. of the present work, was sent out by Drummond 
in the same year. Except for the title-page, a slight 
difference in the spelling of some half-dozen words, and 
the omission of a couple of brackets in the text, the 
two issues are identical, as the following collation of the 
" second impression," according to the Aberdeen Univer- 
sity copy, shows, although Heber is hardly justified in 
calling them typographically identical. 

[Title arranged in three compartments of an archi- 
tectural and floral border (180-129 mm -)] POEMS : | BY 
William Drvmmond, | of | Hawthorne-denne. | [Rule] 
The second Impression. | [Rule] | Edinbvrgh, | Printed by 
Andro Hart. 161 6. | 

4to. (263-200 mm.). 63 leaves without foliation or 
pagination. A-P 4 ,Q 3 (signed with the exception of Ai, 
A2, L2, L 3 , M 3 , M 4 ). 

Plate 8. — Facsimile of Frontispiece. Poems. Edinburgh, 1616. 

Facing page lxvi. 


The Aberdeen copy of the " second impression " con- 
tains, between Li and L2, a portrait of Henry Prince of 
Wales, engraved by William Hole, copied from the portrait 
by Simon de Passe mentioned above. It also includes 
a blank leaf, between M4 and Ni, bearing evidence that 
originally it had mounted upon it a plate measuring 
93-82 mm., probably the same portrait of William 
Drummond as that found inserted in the Edinburgh 
University copy, in the same position, which measures 
91-81 mm. 

The question might be asked whether the engravings 
found in certain copies of Drummond's poetic collections 
may not be later additions, for which he is not respon- 
sible. All doubt on this score is set aside by the 
fact that the engravings are not laid in, but sewn in 
with the other sheets of the volume in each case ; 
and that the binding of such copies (excepting the 
Haigh Hall copy of the ?i6i4 Poems which has been 
rebound recently) is the original contemporary leather 
binding (the Oxford copy of the ?i6i4 edition of the 
Poems, as well as the Oxford regular edition of 1616, have 
an original parchment binding). It is also noteworthy 
that the copies which contain engravings are presentation 

Heber, not sufficiently aware of Drummond's capricious- 
ness in such matters, and wishing to account for the 
abandonment in the second issue of the original title-page, 
suggests (Bibl. Heber., part viii., no. 737) that the change in 
the title-page did not take place till the Flowres of Sion 
and A Cypresse Grove were added in 1623, as all the copies 
known (according to him) bearing the title " The second 
Impression' ' contain this edition. This last assertion is 
contrary to fact, as only one copy of the Poems is found 
bound with the first edition (1623) of Flowres of Sion ; 
and moreover Heber's explanation in itself is quite 
irrelevant in the light of Drummond's peculiar habits 


in all that concerned the issue of his books. To our 
mind the explanation is not far to seek. Drummond 
simply did not care for the original title-page and directed 
Andro Hart to substitute another, which he liked so well 
that he used it again, as we shall see, for one of his subse- 
quent publications, as well as for the " second impression " 
of the Poems. 

Copies of the " second impression " of the Poems, though 
by no means plentiful, are not quite so scarce as those of 
Drummond's other poetical works. We have succeeded 
in tracing nine copies. Of these three copies on large 
paper, housed in the libraries of the Universities of 
Aberdeen, Edinburgh, and Oxford (Bodleian) respectively, 
include Forth Feasting, bound in at the end after Mad- 
rigalls and Epigrammes. All three are bound in a 
contemporary binding — those of Aberdeen and Edin- 
burgh in a full leather binding, and that in the Bodleian 
in parchment. The Bodleian and Edinburgh copies 
contain a rare engraved oval portrait of the author (98-81 
mm.), identical with the one found in the Bodleian copy 
of the ?i6i4 edition of the Poems. The Edinburgh 
copy contains also (facing p. 82) an engraving folded 
in representing the lying-in-state of Prince Henry. In 
the Aberdeen copy the blank leaf in the same place 
(facing p. 96) is extant, as has already been mentioned, 
but the portrait itself has disappeared. At the foot 
of the title-page of the Aberdeen copy is the dedication 
in Drummond's hand : " Gitien to the Colledge of 
king James in Edinbrough by the Author. 1624." 1 
On the recto of the fly-leaf of the Edinburgh copy 
there is also an inscription in the author's hand, 
as follows : " Alma matri Academise Jacobi Regis 
Guilielmus Drummond D.D. 1624." Another copy 
on large paper, bound separately, is found in the 
Advocates' Library at Edinburgh ; and a fifth, formerly 

1 It would be interesting to know how this copy found its way to 


in the Auchinlech Library, also on large paper, with 
three portraits laid in, including an unsigned portrait of 
Drummond, which appears to be the same as that in the 
Edinburgh and Oxford copies, formed part of the Robert 
Hoe collection, recently sold in New York. We under- 
stand that it has not left the United States. 1 The British 
Museum possesses two copies, the first, not in very good 
condition, with a patched-up title-page, and the second 
an imperfect copy in which the missing title-page has 
been replaced by a reprint of the title-page of the first 
issue. A copy, belonging formerly to Heber, exists at 
Britwell Court, printed on thick paper, excepting the 
six leaves containing Vrania, which are on ordinary paper. 
The same library also contains a large paper copy with 
Pinkerton's book plate, on thick paper, identical with 
the preceding, except for Vrania (L2 a -M3), which 
is wanting. It is bound with the first edition (1623) 
of Flowres of Sion. The Huth Library also contained 
a copy which has recently gone to the United States. 
Lastly, we are informed that there is a copy, which we 
have not seen, in the library of Trinity College, Cambridge. 

VI ( = G + H) FORTH FEASTING. Edinburgh, 

For facsimile of title-page see vol. i. plate 17, p. 139 
of the present work. 

Description and collation according to the Edinburgh 
University copy : 

[Ornament (100-27 mm composed of cherubs, dol- 
phins, fishes, and rabbits.] FORTH | FEASTING. I A I 
CELLENT I MAJESTIE. I [Rule] | Flumina senserunt 
ipsa. I [Rule] | [Ornament (66-15 mm.) of filigree design.] 
EDINBVRGH, | Printed by Andro Hart, 1617. | 

4to. (267-182 mm.). 8 leaves without foliation or 

1 Leaf M 3 , which was missing in this copy, has been replaced in 
facsimile from one of the British Museum copies. 






FRANCE *A WD ?%8LA*t'D t 





SENCE IN A""- 1*17. 

O' BunXlJf <J{ 11X105 Jxefca*. 

Soli fie pervius orbti. 

Printed by Thomas Finlafon, Printer to his m oft 

excellent Maieftie. 16 \2. 

Plate 9.— Facsimile of Title- Page. 

Facing page lxx. 


pagination ; A, B 4 (signed except Ai). Bound up with and 
following "Poems, The second Impression." (1616). 

[Collation] : Leaf [i] a Title (verso blank) ; A2 a -B4 b 
(Pp* [3 -1 ^]) [Ornament (100-27 mm j cherubs, dolphins, 
fishes, and rabbits, as on title-page.] " FORTH FEAST- 
ING. I A PANEGYRICKE | To the Kings most | 
excellent Majesty." | (P. [16]) [ends] "With Earth thy 
Empire, Glorie with the Heauen. | FINIS" | [Triangular 
ornament (115-86 mm.), with helmeted mask in centre.] 

This copy contains (facing p. 2) a portrait (279-225 mm.) 
of King James, engraved by Simon de Passe, representing 
that monarch on horseback. 

Copies of this congratulatory poem by Drummond 
are scarce. It has already been pointed out that the 
Aberdeen, Edinburgh, and Oxford copies of the Poems 
(1616) contain Forth Feasting. In the Aberdeen com- 
bined copy there is, following immediately the title- 
page of Forth Feasting, a half -size oval portrait of 
King James bearing a sceptre, engraved by Simon 
de Passe, and at the foot of the last page the 
following dedication is inscribed in Drummond's hand : 
" Giuen to the Librarie of M r Thomas Rhed in 
Aberdone by the Author. 1627." Of the copies bound 
separately, one is found in the Advocates' Library, a 
second in the Bodleian, and a third, formerly Heber's, 
in the collection of Mr. Christie Miller at Britwell Court, 
while a fourth and fifth formed part of the Hoe and 
Huth collections respectively, and are now in the United 
States. The Hoe copy, with Drummond's autograph on 
the last page, seems to have been his own copy, and 
is probably the same as that described by Collier in his 
Bibliographical Account of Early English Literature. 

The present is the first edition of this poem. It re- 
appeared in the following year (1618), with slight changes 
in the text, and a prefixed sonnet by Drummond wanting 
in the original edition, in The Muses Welcome printed 
at Edinburgh under the superintendence of John Adam- 
son, with the title-page reproduced in plate 9 facing p. lxx. 


That Drummond's poem was included in The Muses 
Welcome with his full concurrence finds corroboration 
in the following note appended to Forth Feasting in The 
Muses Welcome : " This Poeme was presented by William 
Drummond of Hawthorne-denne." 

Copies of The Muses Welcome are also very scarce ; 
two exist in the Advocates' Library, and a very fine one 
on large paper, dedicated to King James, and recently 
acquired from the Huth collection, is in the British 

VII ( = I) FLOWRES OF SION. 1623. 

For facsimile of title-page see plate 10 facing p. Ixxii. 
Description and collation according to the Haigh 
Hall copy : 

[Ornament (101-28 mm.) composed of cherubs, dolphins, 
fishes, and rabbits] FLOWRES | OF SION. | BY | 
WILLIAM DRVMMOND | of Hawthorne-denne. | TO 
GROVE. I [Two rules] | Printed 1623. | 

4to. (220-165 mm.). Pp. [2] + 80. 1 leaf (unsigned), 
a-e 4 , F-K 4 . (The gathers are signed on the first three 
leaves, except I which is also signed on the fourth, and F2 
and K3 which are unsigned.) 

[Collation] : Leaf 1 (unsigned) Title (verso blank) ; ai a - 
ci a (Pp. [i]-i7) [type ornament between two rules (105- 
POEMS, I By I W. D." | (P. 17) [ends] "// may bee aye 
the Burthen of their loy" | [ornament (77-25 mm.) 
mermaid, facing left.]; ci b -d2 a (Pp. 18-27) "FLOWRES 
OF SION" (P. 27) [ends] u And Ecchoes rang, this was 
true Happinesses [type ornament (45-7 mm.)] ; d2 b [P. 28] 
[titles within square frame of double rules] "AN HYMNE | 
OF I THE FAIREST FAIRE." | ; d 3 a -e 4 a (Pp. 29-39) 
"Flowres of Sion" (P. 39) [ends] "/ may in sweeter 
Notes heare Angelles sing." | [ornament (52-41 mm.) ; 
horned mask, with tassels]; e4 b -Fi b (Pp. 40-42) 
" Flowres of Sion." (P. 42) [ends] " They may a 
Sauiour, not a ludge thee finde" | [ornament (52-41 mm.) ; 
horned mask, with tassels] ; [F2] a [P. 43] [title within 




of Hawthorne-dennc. 


Printed itfij* 

Plate io. — Facsimile of Title-Page. 

Facing page lxxii. 


square frame of double rules] «A | CYPRESSE I GROVE. | 
BY | W. Dr | ; [F2] b [P. 44] (blank) ; F 3 a -K 3 a (Pp. 45- 
77) «A\ CYPRESSE GROVE." | (P. jy) [ends] "I all 
astonished did awake"; K 3 b (P. 78) "A Cypresse 
Grove. | On the Report of the | Death of the Author" \ 
[a poem of five stanzas of four lines each, signed] 
"Sir William Alexander."; Ktf (P. 79) "A 
Cypresse Grove. | To S. IV. A" | [a sonnet ending] 
"The murmuring Eske^ may Roses shade the place." 
[ornament (75-25 mm.) ; mermaid, looking left] ; K4 b 
(P. 80) "A Cypresse Grove" | "To the Memorie of 
the most | excellent Ladie^ Iane | Countesse of Perth. | 
[a sonnet ending] " Her Memorie on Earth, Her Soule 
aboue." [ornament (52-40 mm.) ; horned mask, with 

Of this, the first edition of Flowres of Sion, there were 
two other issues with different title-pages (see plate 11 
facing p. lxxiv, and plate 12 facing p. lxxvi), but corre- 
sponding in all other respects with the one just described. 

Copies of the first edition of Flowres of Sion are of 
extreme rarity ; of the issue with the plainer title-page there 
is a copy on large paper, described above, with the arms 
of Constable on the cover, in the library of the late Lord 
Crawford at Haigh Hall ; another, likewise on large paper, 
bound with an imperfect copy of the Poems (1616), is at 
Britwell Court ; and a third copy, of the same dimensions 
as the Haigh Hall copy, bound in the original calf binding, 
was recently sold for £105 at Sotheby's (July 31, 1912). 
On the recto of the third of the three fly-leaves at the 
beginning (the first fly-leaf is torn out) it bears the 
signature, "J. Lawderdaile. 1623." — John Maitland, first 
Earl of Lauderdale, to whom Drummond addressed 
several poems. On the verso of the title-page is pasted 
the bookplate of " The Honourable Archibald Campbell 
Esq r 1708." There exists also a copy with the plainer 
title-page in the British Museum, but on small paper. 
The copy on large paper in the library of the University 
of Aberdeen, bearing a dedication by the author (see 


plate n), is unique as far as we have been able to ascertain, 
as is also the copy of a third issue in the library of the 
University of Edinburgh, also on large paper and with 
a dedication in Drummond's hand (see plate 12). The 
Edinburgh University copy is remarkable on account 
of the large number of verbal corrections on printed slips 
of paper, made apparently by the author after the book 
had been issued, and pasted over the original lines. In 
the Haigh Hall copy, and likewise in that bearing the 
signature of the Earl of Lauderdale, the same peculiarity 
is observable, but to a much less extent. It is interesting 
to note that these verbal corrections were in nearly every 
instance subsequently adopted in the second edition 
(1630) of Flowres of Sion. 

None of the issues of the first edition of Flowres of 
Sion, it will be noticed, bears the name of the place of 
publication or of the printer, although the ornaments 
leave little doubt that the book issued from the press of 
Andro Hart. The absence of any designation of the place 
of publication or of the printer's name leads to the belief 
that we are in the presence of another of the limited issues 
printed for presents, or for private circulation. Practically 
all doubt on this point is dispelled by a letter of 
Drummond's to Sir David Lindsay of Balcarres, pre- 
served in the family archives at Haigh Hall, and of 
which we find there is a mutilated copy in the Hawthorn- 
den MSS. This interesting letter is reproduced, or rather 
transliterated, in the Lives of the Lindsays, 1 and there 
bears the date July 26, 1622. However, a reference to the 
original showed that the letter is not dated, but endorsed 
by Sir David Lindsay : "26 July, 1623." It runs as 
follows : 

" Sir, — Though I be not ever able to acquit, yet do I 
never forget, received courtesies, but most when they are 

1 Lives of the Lindsays ; or A Memoir of the Houses of Crawford and 
Balcarres, by Lord Lindsay. London, 1849, vol. ii. p. 4. 

«-S %fe*d 

Plate ii.— Facsimile of Title-Page. 

Facing page lxxiv. 


bestowed by the worthiest and such as is yourself — to 
whom I have been many times obliged, and last, when 
in your house you so kindly received me with the sight 
of your library, and gift of your Amiratus. I would 
often since have answered your book, though unable 
those other courtesies, but, considering what a difficulty 
it were to send you a book which ye (perhaps) had not 
already, or a new one, ye having so good intelligence 
abroad, I have been bold to present you with this of mine 
own, which, though of small worth, is a new one, and 
only singular in this, that it is not to be found in any 
library, I having caused print some copies equalling the 
number of my friends and those to whom I am beholden, 
which are not, the world knows, many — among whom 
I have ever esteemed and found you. Thus, if my error 
will not admit defence, it may excuse, proceeding from 
the affection of him, Sir ! who desire th in what is within 
the compass of his power to serve you, 

William Drummond." 

The date of Drummond's letter excludes reference to 
any other of his works but the first edition (1623) of 
Flowres of Sion, and is more generally a decisive proof 
that Drummond had a practice of printing certain of his 
books privately for distribution among friends. 

VIII (=J) FLOWRES OF SION. Edinburgh (Heirs 
of Andro Hart), 1630. 

For facsimile of title-page see plate 13 facing p. lxxviii. 
Description and collation according to the copy in the 
John Rylands Library, Manchester : 

[Ornament (101-27 mm.) composed of cherubs, dolphins, 
fishes, and rabbits] | FLOWRES OF | SION :\ BT\ 
WILLIAM DRVMMOND | of Hawthorne-denne. I TO 
[ornament (52-41 mm.), horned mask, with tassels] | Printed 
at Eden-Bourgh, by the Heires of ANDRO | HART. 
Anno 1630. I 


4to. (176-135 mm.). Pp. [2] + 108 (page 54 is incorrectly 
numbered 52 ; 59 and 62 are unnumbered). 1 leaf (unsigned) 
A-G 4 , H 3 , I-N 4 , O 3 (the leaves are all signed, except B4, 
D 3 , D 4 , F 4 , N 4 ). 

[Collation] : Leaf 1 (unsigned) Title (verso blank) ; Ai a - 
Ci a (Pp. 1-17) [ornament (100-27 mm.) composed of 
cherubs, dolphins, fishes, and rabbits] | "FLOWRES OF 
W. D." I (P. 17) [ends] " It may bee aye the Antheme of 
their Ioy " [ornament (76-25 mm.) ; mermaid, facing 
left]; Ci b -C3 a (Pp. 18-21) "Flowres of Sion " [con- 
tinued] (P. 21) [ends] "When mans Redeemer did transcend 
the Skies " [ornament (80-25 mm.) ; mermaid, facing 
right]; C3 b -D 4 b (Pp. 22-32) "Flowres of Sion." [con- 
tinued] (P. 32) [ends] "And Ecchoes rang^ this was true 
Happinesses [ornament (76-25 mm.) ; mermaid, facing left] ; 
Ei a -F3 b (Pp. 33-46) [ornament (8o-i 4 mm.) ; bird in 
centre of leaf scroll design, between double rules] "AN 
" They may a Sauiour^ not a ludge thee findeP [ornament 
(33-29 mm.) ; mask in centre, with the initials "A. H " at 
foot] ; F 4 a -H3 a (Pp. 47-61) [ornament (80-14 mm.), as 
above on p. 33] "THE | SHADOW OF THE | 
IVDGEMENT." I (P. 61) [ends] "Farre it extendeth, 
* # * * #• I The rest is desiredS | [ornament (51-39 mm.) ; 
horned mask, with tassels] ; H b [P. 62] [Title within square 
frame, composed of type ornaments (95-78 mm.)] "A | 
CYPRESSE I GROVE : | BY | W. D." | ; Ii a -N 3 b 
(Pp. 63-100) [ornament (100-27 mm.), composed of cherubs, 
dolphins, fishes, and rabbits] "J\ CYPRESSE GROVE." | 
(P. 100) [ends] "thought) Hee vanished, and I all astonished 
did awake." [ornament (33-29 mm.), as above on p. 46] ; 
N4 a (P. 101) "A Cypresse Grove." | On the Report 
of the I Death of the Author S | [a poem of five stanzas of 
four lines each signed] "Sir William Alexander."; 
N4 b (P. 102) "A Cypresse Grove." | To S. IV. A." \ [a 
sonnet ending] "The murmuring Eske, may Roses shade 
the place." [ornament (76-26 mm.) ; mermaid, looking left] ; 
Oi a (P. 103) "A CYPRESSE GROVE." | To the 
Memorie of the | most excellent Ladie^ IANE | Countesse of 
Perth." I [a sonnet ending] " Her Memorie on Earth, Her 
Soule aboue." [ornament (80-26 mm.) ; mermaid, looking 
right]; Oi b (P. 104) "A CYPRESSE GROVE." | To 

Plate 12.— Facsimile of Title-Page. 

Facing page Ixxvi. 


the obsequies of the | blessed Prince^ IAMES, | King of 
great Britaine." | [a sonnet ending] "Is Iron turn'd, and 
horrid by thy Death." [ornament (65-15 mm.) of filigree 
design]; 02 a -03 b (Pp. 105-108) [ornament (80-14 mm.), 
as above on p. 33] "A | TABLE OF THE | Hymnes 
and Sonnetes, with | their Jrgumentes" | (P. 108) 
[ends] " FINIS." [ornament (49-49 mm.) ; woman's head 
between two cornucopiae, and with the initials " A. H " 
at foot]. 

This is the first issue of the second edition of Flowres 
of Sion. It is of extreme rarity ; three copies only are 
known — one in the British Museum ; another, formerly 
Maidment's, at Britwell Court ; and a third, recently 
acquired and described above, in the John Rylands 
Library, Manchester. A second issue was published by John 
Hart in the same year, but with a different title-page, 
reproduced in the present work (vol. ii. plate 8, p. 1) , with 
the same border as that already used for the title-page of 
the " second impression " of the Poems (161 6). Copies of 
this second issue on small paper exist in the Bodleian, 
at Britwell Court, in the Drummond Library at Inner- 
peffray ; and a copy formed part of the collection of Mr. 
Robert Hoe, recently sold at New York. Of these, the 
Bodleian copy bears a dedication 1 to the University of 
Oxford by James Scott, Drummond's nephew and eldest 
son and heir of Sir John Scott of Scotstarvet, who had 
been conjoined with his father in the office of Director 
of the Chancery, and died in 1650. There are, besides, two 
copies on large paper ; one in the library of the Univer- 
sity of Edinburgh, and another figured in the late 
Huth collection, and has gone to the United States. 
Both these copies are bound with the " third " edition 
(1614) of Teares on the Death of Moeliades, Flowres 
of Sion coming first in the Edinburgh copy, and second 

1 The dedication runs as follows : " Munusculum hoc bibliothecae 
Oxoniensi in amoris tesseram dicat dedicatque jacobus nomine et 
natione Scotus authoris nepos. 

Ja. Scott." 


in the Huth copy. 1 They both contain an engraving 
representing the lying -in -state of King James (the 
Huth copy as a frontispiece, and the Edinburgh copy 
facing p. 104, on which figures a sonnet on the obsequies 
of J King James), executed apparently specially for these 
large paper editions of Flowres of Sion, which were no 
doubt intended for special presentation, as indeed the 
Edinburgh University copy shows. 

The large paper copies differ from the other copies 
of the second issue in that they have at the end an 
additional leaf, as follows, containing a list of errata, 
which have been adopted in the present edition : 

[2 rows of type ornaments] 
Faults escaped in the Printing. 




Line. Fault. 

26 Eternally. 
1 7 Than. 




29 seene 





5 Sythian 
24. Ihoughts 
28 Sythan 
3 2 sensible 



1 8 Volumnes 



1 6 created 

did make. 

31 The last Line of this Page is the first of the following 
Page, and the first line of the 32 the last of this, so read 
and after then when giuen 
More happy by his fall. 

[2 rows of type ornaments] 

burgh, 1633. 

For facsimile of title-page see vol. ii. plate 10, p. in 
present work. 

1 There is no doubt that originally, before the Huth copy was 
rebound in its present binding, Teares on the Death of Moeliades and 
Flowres of Sion (1630) had been together in one volume in the reverse 
order to that in which they are now, the engraving belonging to Flowres 
of Sion and not to Teares on the Death of Moeliades, with which it has 
nothing to do. 




of Hawthorne-denne. 

Printed at fokartwrgg, by the Heires of A n p so 
H a r r^ Anno 1 6 3 o* 

Plate 13. — Facsimile of Title-Page. 

Facing Page Ixxviii. 


Description and collation according to the copy in the 
Advocates' Library, Edinburgh : 

of Great Britaine, \ France, and Ireland, | Into his auncient 
and royall City of | Edinbvrgh, the fifteenth | of lune, 
1633. I [crown and shield ornament (62-34 mm.)] | 
Printed at Edinburgh by John Wreittoun. 1633. | 

4to. (181-137 mm.). Pp. [2] + 36. A-E 4 (Ai, probably 
blank, is wanting). 

[Collation] : A2 Title (verso blank) ; A3 a -Ei a (Pp. 1-29) 
" The entertainement of the High | and Mighty Monarch, 
Prince Charles, | . . ." | (P. 29) [ends] "yet shall remem- 
brance keep you still, when past." ; Ei b (P. 30) Epi- 
gramme. [12 lines] ; E2 a -E4 b (Pp. 31-36) A I Pane- 


Charles, | King of Great Britaine, \ France, and Ireland, 
&c. I ^Walter Eorbes. | (P. 36) [ends] "Shall shew on 
earth how much thou wast respected." | FINIS. 

This is a unique copy. It contains at the end a 
panegyric of King Charles by Walter Forbes, which is 
reprinted in the Maitland Club edition of Drummond's 
poetical works, but which has been omitted from the 
present edition as irrelevant. 

The Entertainment does not bear Drummond's name. 
Its ascription to him, however, has at no time been disputed. 

X ( = L) TO THE EXEQUIES, Etc Edinburgh, 

For facsimile of title-page see vol. ii. plate 11, p. 139, 
of the present work. 

The unique but very imperfect copy of this elegy, 
used by the editors of the Maitland Club edition of 
Drummond's Poems (1832), was in the library of the 
University of Edinburgh till a few years ago, but it appears 
to be lost, a diligent search on the part of the librarian 
having failed to bring it to light. We have accordingly 
been compelled to reproduce the title-page of the Maitland 
Club edition in the present work. 



Drummond's History of Scotland, which is his longest 
prose work, interests us in the present connexion mainly 
because it contains A Cypresse Grove, which first appeared 
as part of the first edition of Flowres of Sion. 

The first edition of the History of Scotland was pub- 
lished in 1655, the preface to the reader being dated 
Jan. 24, 165-f , with the following title-page : 

year 1423. until the year 1542. | CONTAINING I The 
LIVES and REIGNS | OF | JAMES | The I. the II. 
the III. the IV. the V. | With several | Memorials of 
State, I During the Reigns of James VI. & Charls I. | 
By William Drummond of Hauthomden. | With a Pre- 
fatory Introduction | By M r . Hall of Grays-Inn. [trian- 
gular ornament consisting of fleurs-de-lis] LONDON^ 
I Printed by Henry Hills^ for Rich. Tomlins and him- 
self, and are | to be sold at their houses near Py-Corner. | 

4to. (279-175 mm.). Pp. [24] + 294. 

A Cypresse Grove occupies pp. 267-289. The volume 
includes also, under the heading " Memorials of State," 
various political tracts by Drummond, and a selection, 
entitled " Familiar Epistles/' of his private letters — the 
whole being evidently intended as representative of the 
poet's powers in prose. This collection of his prose 
works appears to have been planned by Sir John Scott 
of Scotstarvet, Drummond's brother-in-law ; and in some 
copies there is a dedication of the book by Drummond's 
son to Scotstarvet, representing the nephew as the editor 
and the uncle as the patron. At the end of Mr. Hall's 
" Prefatory Introduction," there are a few biographical 
particulars about Drummond, with an announcement 
of his Poems as forthcoming — a clear reference to 
Phillips's edition, which was to appear in the following 


year, thus indicating that the publication of the two 
volumes formed part of one and the same enterprise. 1 

A second edition appeared in 1681, also containing 
A Cypresse Grove, with the following title-page : 

year 1423, until the year 1542. | CONTAINING | The 
LIVES and REIGNS | OF | JAMES | The I. the II. 
the III. the IV. the V. | With several | Memorials of 
State, I During the Reigns of James VI. and Charles I. | 
Illustrated with their EFFIGIES in Copper Plates j 
I By William Drummond of Hauthornden. | With a 
Prefatory INTRODUCTION taken out of the Records | 
of that Nation, by Mr. Hall of Grays-Inn. | The Second 
Edition, with a Brief Account of the Authors life. | 
LONDON, I Printed for Tho. Fabian at the Sign of the 
Bible in St. | Pauls Church-Yard, a Corner shop next 
Cheapside. 1 681. | 

8vo. (180-1 14 mm.). Pp. [40] + 436. 

XII ( = N) POEMS. London, 1656 and 1659. 

Description and collation according to the Edinburgh 
University copy : 

POEMS, I BY I That most Famous Wit, | WILLIAM 
rules.] I Mtas prima canit | Veneris postrema Triumphos. | 
[Three rules.] | LONDON, | Printed for Richard Tomlins, 
at the Sun | and Bible neare Pye-Corner, 1656. 

8vo. (170-103 mm.) Pp. [14] + 208 (numbered, except 
68, 69, 81, 82, 139, 140, 141, 142, 155, 156 j 86 is 
incorrectly numbered "6," 134 is incorrectly numbered 
"34," and 143 is incorrectly numbered "151"). A-O 8 . 
(Ai is wanting.) 

A separate leaf consisting of an engraved oval portrait 
of "Guil£lmus Drummond de Havthornden," by R. 
Gaywood, has been inserted, facing the title-page. 

1 Copies of the first edition of the History of Scotland appear to be 
scarce ; there is a copy in the British Museum, another at Britwell 
Court, and one in the Rylands Library, Manchester. The second 
edition is not nearly so rare. 

VOL. I / 


[Collation] : [An inserted leaf: Engraved oval portrait of 
" Guilelmus Drummond de Havthornden," by R. Gay- 
wood.] 5 A i (wanting) ; A2 a Title (verso blank) ; A3 a -A4 a 
"To the Reader." [signed] « E. P." | ; A 4 b (blank) ; As a 
"Vpon the incomparable Poems of j M r William 
Drummond"; A$ h [signed] "Edw: Phillips."; A6 a 
u Joanni Scoto, Scoto-Tarvatio Equiti" . . . [signed on] A6 b 
"D. F." [and followed by six lines headed] "De Gulielmo 
Drummondo." ; A7 a " To W. D." [signed on] A7 b "John 
Spotswood." ; A8 a " To William Drummond of | Hawthorn- 
den." [signed on] A8 b " Mary Oxlie of Morpet." ; Bi a -Ds b 
(Pp. 1-42) "POEMS. I The First Part." | 5 D6 a -F2 a 
(Pp. 43-67) "POEMS. I The Second Part." | ; F2 b 
(P. [68]) (blank) ; F3 a (P. [69]) [Title :] "TEARES | ON 
WILLIAM DRVMMOND | OF Havvthorneden. 
[Rule.] I [Crown and thistle ornament.] | [Rule.] | LON- 
DON, I Printed in the Yeare 1656." | ; F3 b (P. 70) 
"To the Author." [signed] "Sr W. Alexander."; 
F4 a -F6 b (Pp. 71-76) "Teares on the Death of \ 
Moeliades." I [signed on] P. 76 " William Drum- 
mond." ; F7 a (P. 77) [Pyramid made up of crown and 
Prince of Wales' feathers ornament, over thirteen lines of 
text commencing] "OF JET," ; F7 b (P. 78) [Within a 
square heavy black border made up of leads an epitaph of 
fourteen lines commencing] "Stay Passenger, see where 
enclosed lies," ; F8 a (P. 79) " A Passing Glance, a Lightning 
long the skies " [A sonnet signed] " William Drummond" ; 
F8 b (P. 80) "To the Reader."; Gl a (P. [81]) [Title:] 
"MADRIGALS | AND | EPIGRAMS." | ;Gi b (P.[82]) 
(blank) ; G2 a -H3 a (Pp. 83-101) " Madrigals and Epigrams." ; 
H3 b -K5 b (Pp. 102-138) "FLOWERS of SION : | OR I 
SPIRITUALL POEMS, | By W. D." | ; K6 a (P. [139]) 
[Title :] "THE | WANDRING | MUSES : | OR, | The 
River of | FORTH | FEASTING: | IT BEING | A 
Panegyrick to the High and | Mighty Prince, James, King 
of Great | Brittaine, France, and Ireland. | [Rule.] | BY 
WILLIAM DRVMMOND | Of Havvthornden. | 
[Rule.] I LONDON, | Printed in the Yeare, 1656." | 5 
K6 b (P. [140]) (blank); K7 a (P. [141]) "To His Sacred 
Majesty."; K 7 b (P. [142]) (blank); K8 a -L 5 b (Pp. 143 
[wrongly numbered I5i]-I54) "The River of | FORTH | 
FEASTING:" I ;L6 a (P. [155]) [Title:] "SPEECHES | 


CHARLES, | King of Great Brittaine, France, | and 
Ireland, at His Entring His City | of EDENBVRGH : 
Delivered from the Pageants the | 15 th of June, 1633 
[Three rules.] | LONDON, | Printed in the Yeare, 1656." 
(verso blank) ; Lj a > b (Pp. 157, 158) "An intended Speech at 
the I West Gate"; L8 a -Mi b (Pp. 159-162) "The Speech 
of Caledonia, represen- | ting the Kingdom." ; M2 a (P. 163) 
"The Song of the Muses at Parnassus."; M2 b -M6 a 
(Pp. 1 64-1 71) "The Speeches at the Horoscopall | Pageant 
by the Planets."; M6 b -M8 b (Pp. 172-176) "A Pastorall 
Elegie on the Death | of S. TV. J"; Ni a (P. 177) "A 
Translation | of S. John Scot his verses, beginning | ®)uod 
vita sectabor iter." Ni b -08 b (Pp. 178-208) "MISCEL- 
LANIES." :— (Pp. 1 78- 1 79) "MISCELLANIES." 5 (P. 1 80) 
" To a Swallow building neare the | Statue of Medea." — 
"Venus armed?; (P. 181) " The Boares Head?— ■" To an 
Owle? 5 (P. 182) " Daphnis?—" The Beare of Love? ; 
(P. 183-185) "Five Sonnets for Galatea." [and another.]; 
(P. 1 86) " An Epitaph of one named | Margaret." | — 
" Another Epitaph on a Lady? ; (P. 187) " On a Drunkard? 
— " Aretinus Epitaph? — " Comparison of his thoughts to 
Pearls?; (P. 188) "All changeth?— " Silenus to King 
Midas." — "To his amorous thought? ; (P. 189) " Verses on the 
late William Earle of Pern brook. " ; (P. 190) "A Reply" 
[signed at foot] " W. D? ; (Pp. 191-194) "A Translation? 
(Pp. 195-196) ; " Vpon John Earle <?/Laderdale his Death? ; 
(P. 197) "EPITAPHS. I T0\ The Obsequies of the 
blessed Prince, | JAMES, King of Great Brittaine." | ; 
(Pp. 198-200) " On the Death of a young Lady " ; (P. 20 1) 
"Another on the same subject." ; [and another] (Pp. 202-206) 
" On the Death of a Nobleman in | Scotland, buried at 
Aithen." [and six others]; (P. 207) "Rose?; (P. 208) 
" To Sir W. A." [Ends] "FINIS." 

This edition of Drummond's Poems, which, as we have 
seen, had been announced in the preface to the first edition 
of the History of Scotland, duly made its appearance, 
some months later, at the shop of the same bookseller, 
but this time the editor was not Mr. Hall, but Edward 
Phillips, Milton's elder nephew, who introduced the 
Scottish poet to the public in an interesting though some- 


what bombastic preface, which is partly reproduced in 
our Introduction. 

Some copies have the imprint : " London, printed by 
W. H. and are to be sold in the Company of Stationers, 
1656 " ; and others occur bearing a dedication, signed 
" T. R." (Tomlins, Richard) to Sir John Scott of Scots- 
tarvet, in the following terms : 

" Sir — Having received these ingenious Poems from 
your Honour, I could not more fitly have presented them 
to any than to your self, it being most just that the 
noblest Wit of Scotland should fly to the patronage of 
the greatest Mecsenas of Wit and Learning that the 
Nation affords, be pleased therefore to accept the humble 
indeavours to serve you of T. R." 

It will be noticed that Tomlins states expressly that 
he received Drummond's poems from Sir John Scott of 
Scotstarvet. We are also explicitly told in " The Author's 
Life/' prefixed to the folio edition of 1711, that Sir John 
caused Drummond's poems to be collected and printed 
in the year 1656. The publication of the Poems in 1656 
was, as has already been indicated, part of a scheme to 
publish the poet's whole works, the prose works having 
already appeared the year before, together with the 
History of Scotland ; and the intention evidently was to 
represent the whole scheme as having been carried out 
at the instigation of Drummond's brother-in-law. 

We have already pointed out that the contents of the 
first part of Phillips's volume, which includes the Poems 
proper, T cares on the Death of Mceliades, and Madrigals 
and Epigrammes, correspond exactly 1 to the contents of 
the curious ? 1614 issue of the Poems, and not to the 
regular edition of 1616. In other words the first 101 

1 The contents of the Haigh Hall copy of the Poems ? 1614 are 
exactly reproduced in the first 101 pages of Phillips's edition, with the 
sole omission of one madrigal (noted in the proper place), and in the 
same order, except that the four commendatory poems " To the 
Author " come at the end of " Poems, The Second Part," instead of 
at the beginning, as in the Haigh Hall copy. 


pages of his edition, as compared with the Poems (1616), 
lack 50 pieces which were added in the 1616 edition of 
the Poems, and contain 18 pieces which figure in the 
? 1614 edition of the Poems, but were subsequently 
suppressed by Drummond. It is also noteworthy that 
Phillips followed the first (1623) and not the second 
(1630) edition of Flowres of Sion, and consequently 
the pieces that were added in the second edition of that 
collection do not figure in his edition. He also omitted, 
though they form part of the first edition of Flowres of 
Sion, the prose essay, A Cypresse Grove, and the three 
pieces that follow it, probably because they had already 
appeared the previous year along with the History of 
Scotland, and the other prose works. Of new matter 
not previously printed, Phillips added 35 pieces (one 
certainly not by Drummond, and another of doubtful 
authenticity) that had been furnished from among the 
poet's papers, and most of which are still extant in the 
Hawthornden MSS., now in the keeping of the Society of 
Antiquaries of Scotland. These too, it must be supposed, 
came into the hands of Tomlins or Phillips, through the 
intermediary of Sir John Scott. Granting then, that the 
statement of Tomlins, and subsequently of the editors 
of the folio edition, is correct — that Sir John Scott, as was 
natural, was the chief instigator and intermediary in 
the production of Drummond's poems, and that he too 
was responsible for the communication of the manuscripts 
(it is difficult to see in what other way Tomlins or Phillips 
could have obtained possession of the manuscripts) — 
how can the fact be explained that the text and the 
contents of the most important part of Phillips's edition 
reproduce an early incomplete issue of the Poems, partly 
suppressed by Drummond himself ; and further, that 
Phillips utilized the first and not the second edition of 
Flowres of Sion, as a collation of the two texts clearly 
shows ? Perhaps the only answer is, that Sir John Scott 
did not possess the later editions, and communicated the 


editions he did possess, forgetful possibly at the time 
that the ? 1614 issue of the Poems differed materially 
from that of 1616, and could therefore not be held as 

In 1659 there was a new edition of Drummond's 
collected poems, or more probably only a sale of the 
remaining copies of this 1656 edition, with the dedication 
to Scotstarvet repeated, identical with the 1656 edition, 
except for a new title-page (inserted after the dedication 
to Scotstarvet) , which runs as follows : 

POEMS I Of that Great | COURT -WIT, | Mr 

Vvilliam Drummond. | Whose Labours, both in Verse | 
and Prose, being heretofore so pre- | cious to Prince 
Henry, and to K. Charles, | Shal live and flourish in all 
Ages whiles there are men | to read them, or Art & 
Judgment to approve them. | [Rule] | Horat. Carm. Lib. I. 
— Multaq\ pars met j Vitabit Libitinam — | [Rule] 
LONDON, I Printed for William Rands Bookseller, at 
his House | over against the Beare Taverne in | Fleetstreet, 
1659. I 

XIII ( =0) WORKS. Edinburgh, 171 i. 
Description and collation according to a copy in the 
John Rylands Library, Manchester : 

THE I WORKS I OF | William Drummond, | OF | 
HAWTHORNDEN. | Consisting of | Those which were 
formerly Printed, | AND | Those which were design'd for 
the Press. | Now Published from the | Author's Original 
Copies. I [Rule] | [Ornament composed of initials of printer's 
name arranged as monogram] | [Rule] | EDINBURGH : \ 
Printed by James Watson, in Craig' s-C\oss, 171 1. 

Folio (342-219 mm.). Pp. [4] + xlvi + [2] + 244 (Page 
213 misnumbered 1 1 3, and 239 as 1 39 ) + I V + 60 ( Pages 1 8 
and 19 misnumbered 14 and 15). Two leaves unsigned, 
a-1 2 , m 1 , one leaf unsigned, B-Z 2 , Aa-Zz 2 , Aaa-Qqq 2 , 
A 2 , A-P 2 . An oval engraved portrait : " William 
Drummond, of Hauthornden. | born 1585. dyed 1649." 
has been inserted facing the title. 

[Collation] : Inserted portrait. Title (verso blank) ; 


"THE PREFACE." (2 pp.) Pp. i-xi "THE LIFE 
OF William Drummond Of HAWTHORNDENr ; xi-xx. 
"POEMS In Commendation of the AUTHOR."; xxi-xxiii. 
" The AUTHOR'S Dedication:' ; xxiv (blank) 5 xxv-xliv. 
"The Introduction."; xlv U A Catalogue of the Authors 
Works" ; xlvi (blank). Title (unsigned and with verso 
blank) : «THE | HISTORY | OF | The ILtbes and 3&et S ns | 
OF I The Five JAMES's, | Kings of Scotland, | From the 
Year 1423, to the Year 1542. | With a New Introduction.! 
[Monogram Ornament] | . EDINBURGH : | Printed by 
James Watson, in Craig' s-C\oss, 171 1." I Pp. 1-17 "THE 
HISTORY OF THE Reign of JAMES the JFttst, 
KING of SCOTLAND:'; 18 (blank); 19-37 "THE 
HISTORY OF THE Reign of JAMES the £won*, 
KING of SCOTLAND:'^ 38 (blank); 39-61 "THE 
HISTORY OF THE Reign of JAMES theEfjtrU, KING of 
SCOTLAND." ; 62 (blank) ; 63-78 "THE HISTORY OF 
THE LIFE and REIGN OF JAMES the JFourt}), King 
of Scotland." ; 79-116 "THE HISTORY OF THE LIFE 
and REIGN OF JAMES the jjuftfj, King of Scotland." ; 
1 17-128 "A Cypress Grove." ; 129-134 MEMORIALS OF 
STATE."; 135-162 "Familiar Epistles"; 163-173 
"TRACTS Never before Printed. IRENE"; 174- 
176 "THE Magical Mirror:"; 177-178 "Queries of 
State."; 179-182 "A SPEECH (which may be called 
apropos)"; 183-184 "THE LOAD-STAR,"; 185-187 
September 1639."; 188-189 " RE MORA'S For the 
National League between Scotland and England, 1642." ; 
190-205, " 2KIAMAXIA : " ; 206-21 1 " A Declaration 
against a Cross Petition : " ; 212-215 " Objections against the 
Scots answer' d." ; 216-217 A Speech for Edinburgh to the 
KING." ; 218-219 " A Speech of the Author's, when he should 
have been questioned for some Papers before the Circular 
Tables."; 220-221 " The IDEA."; 222 " Bibliotheca 
Edinburgena Lectori" ; 11^ " Of Libraries." ; 224-227 
Heads of a Conversation betwixt the Famous Poet Ben 
Johnson, and William Drummond of Hawthornden, 
January, 1619." ; 228-231 U A Short Discourse upon 
Impresa's and Anagrams." ; 231-234 " The Challenge of the 
Knights Errant." ; 235-236 " Litera Magistri Gulielmi 
Drummond defabrica Machinarum Militarium, Anno 1627." ; 
237-240 "SOME NOTES By the AUTHOR, entitled, A 


"... Indenture of Agreement betwixt the Drummonds and 
the Menteiths, anno 1360 ;" ; 244 (blank). 

[Pages i-ii] Title (verso blank): "A | COLLECTION I 
Of all the I POEMS I Written by | William Drummond, | 
OF I HAWTHORNDEN. \ Dignum laude virum Musa 
vetat mori y \ Ccelo Musa beat. . . . j Horat. Od. 8. lib. 4. | 
[Monogram ornament] | EDINBURGH: | Printed by 
James Watson, in Craig' j-Closs, 171 1." | ; iii-iv "To the 
Author."; 1-10 "POEMS. The First Part."; 10-14 
" POEMS. The Second Part." ; 14-15 " URANIA." ; 15- 
17 "TEARS on the Death of MOELIADES." ; 17-23 
[Pp. 18-19 are wrongly numbered 14-15] "MADRIGALS 
and EPIGRAMS."; 24-35 " Flowers of Sion : OR 
SPIRITUAL POEMS."; 35-38, " The River of Forth 
Feasting:"-, 38-41, "SPEECHES TO The High and 
Excellent Prince, Charles, . . . " ; 41-44 " MIS- 
CELLANIES." ; 44-47 " EPITAPHS." ; 48-49, 
POLEMO-MIDDINIA Inter Vitarvam & Neber- 
nam." ; 49-56, " POEMS Never before Printed." ; 57-60, 
King James's." ; [ending on p. 60 with seven lines of] 
" ERRATA.," [and] " FINIS." 

This edition, published by Bishop John Sage, the chief 
of the Scottish Episcopalian clergy of the time, with the 
assistance of the learned grammarian Thomas Ruddiman, 
then assistant keeper of the Advocates' Library, Edin- 
burgh, is still the only collective edition of Drummond's 
whole works ; and in view of the small value of his prose, 
excepting, of course, A Cypresse Grove, which the poet 
himself published in his lifetime, is likely to remain so for 
a long time to come. 

The editors printed a considerable amount of new 
matter in prose, and to the poetical works (apart from 
what Phillips had printed for the first time and which 
they incorporated in their edition) they added about 
40 small pieces never before printed, chiefly scraps of 
political satire, and many religious hymns, the latter of 
which are of doubtful authenticity. They also included 


two poems which are certainly not by Drummond. The 
brief life of Drummond which is prefixed was contributed 
by Bishop Sage, and scanty though it is, remains the 
principal early authority for the poet's life. Drummond's 
son, Sir William, then an old gentleman of seventy-five, 
would appear to have taken great interest in the publica- 
tion, and allowed the editors the freest access to his 
father's manuscripts. In the general preface, which 
opens the volume, the editors claim that they made use 
for their text of the " second impression " of the Poems, 
and of the second edition of Flowres of Sion. This 
statement will not bear examination ; the text of 
Drummond's poems in the edition of Sage and Ruddiman 
is substantially that of Phillips, and the early editions seem 
to have been but very rarely consulted by the Bishop and 
his learned coadjutor ; so that when Corser (pp. tit. p. 324) 
speaks of the present asa" large and accurate edition " 
of the works of Drummond, he is decidedly off the mark. 
Copies of this edition being relatively plentiful, and 
obtainable in all the principal libraries, it has not been 
thought necessary to enumerate them. 


For facsimile of page see frontispiece of vol. i. of the 
present work. 

Presumably the manuscripts placed at the disposal 
of Ruddiman and Sage by Sir William in 171 1, lay un- 
disturbed at the family seat of Hawthornden until the 
Rev. William Abernethy Drummond of Hawthornden, 
an indirect descendant of the poet, presented to the 
Society of Antiquaries of Scotland, in the year 1782, 
the " whole manuscripts," so read the Minutes of 
the Society, " of the celebrated Historian and Poet 
William Drummond of Hawthornden," containing, 
besides other matter, transcripts of the greater part of 
Drummond's prose works, and of some of his poems ; 
various letters, extracts from other authors, both in 


prose and verse, the whole in the poet's own handwriting. 
Forty-five years later these manuscripts, which during 
all the years they had remained in the Society's charge, 
had been allowed to lie in bundles or in loose sheets 
without being arranged in any way, were carefully sorted 
and bound in fifteen volumes by David Laing. The 
same distinguished antiquary published at the same time 
" A Brief Account of the Hawthornden Manuscripts in 
the Possession of the Society of Antiquaries of Scotland ; 
with Extracts, containing several unpublished Letters 
and Poems of William Drummond of Hawthornden," 
in the fourth volume (1831) of the Transactions of the 
Society of Antiquaries of Scotland. To this account 
the reader is referred for a more detailed history of the 
Hawthornden manuscripts. 

Since Laing' s publication all the pieces discovered by 
him have been incorporated in subsequent editions of 
Drummond's poems, and, though few of them can be 
said to add to the Scottish poet's reputation, they are of 
interest in the light of his poetic development. 

Having projected a new edition of Drummond's 
poetical works, it became our duty to investigate the 
Hawthornden Manuscripts afresh on our own account. 
The result of a careful examination revealed that by 
their help many corrections could be made in the poems 
already printed for the first time from the manuscripts 
in the editions of 1656 and 171 1 ; and further, that the 
Hawthornden manuscripts in the possession of the 
Society of Antiquaries of Scotland contain a not in- 
considerable number of pieces by Drummond which 
escaped the attention of Laing. 1 

XV ( = Q) POLEMO-MEDINIA. Edinburgh, 1684. 

For facsimile of title-page see vol. ii. plate 12, 
p. 319 of the present work. 

1 These unpublished poems from the Hawthornden MSS. were 
communicated for the first time by the present writer in the Modern 
Language Review (July 191 1, and July 1912). 


Description and collation according to the copy in 
the possession of Mr. Sutherland Ferguson : 

Breviuscula, £sf Compendiuscula^ Tellatio ; \ DE | Storia 
memorabili Fechtae mervelabilis | Quae fuit | Inter Muck- 
re'illios & Horsboyos^ atque Ladesos^ &c. | In hoc Libellulo, 
cujus Inscriptio Famosa haec est, | POLEMO - 
MEDINIA | INTER | Vitarvam & Nebernam, | Placide 
h Jocose" tractatur. | [Rule] | [crown ornament] | 
[Rule] | EDINBFRGI, | Re-pnntat 1684. | 

4to. (188-144 mm.). Pp. 8(1 and 2 are unnumbered). 
A 4 (signed only on the second leaf). 

[Collation] : [Ai] a [P. 1] Title (as above) ; [Ai] b [P. 2] 
(blank) ; A2 a -[A4] b (Pp. 3-8) [commencing on p. 3] 
[ornament composed of three rows of type ornaments] 
ET I NEBERNAM | Nymphae quae colitis hightissima 
Monta Fifcea^ | " ; [and ending on p. 8] u una nee interea 
spillata est droppa cruoris. | [Rule] FINIS. | [Rule] | " 

This is the earliest extant edition, bearing the date of 
publication, of this macaronic poem, generally attributed 
to Drummond, and published at Edinburgh in the year 

It exists in a unique copy belonging to Mr. Sutherland 
Ferguson of Palmer's Green, Middlesex, who kindly 
placed it at our disposal. 

XVI ( = R) POLEMO-MEDINIA. Place?, Date? 

From the word " Re-printat " which appears at the 
foot of the title-page of the 1684 edition, it is evident 
that that edition was not actually the first edition ; and 
indeed the edition in the British Museum without any 
date, title-page, or colophon, of which the collation 
follows, may with good reason be considered as anterior 
to that of 1684, though the evidence is hardly strong 
enough to ascribe to it positive priority of publication. 
On the fly-leaf is written (? in Maidment's handwriting) : 
" This is, I believe, the first edition of the Polemo-Medinia, 
and so far as I can learn it is unique. From the size, 


type, and the ornament on the top it has the appearance 
of being printed at Edinburgh — certainly before 
Drummond's death, which took place in January 1649." 
Mr. Sutherland Ferguson, whose opinion in such matters 
cannot be passed over lightly, believes from his own 
consideration of the typography that this edition was 
probably printed by Evan Tyler, at Edinburgh, between 
the years 1642-1650. 

[Ornament composed of three rows of type ornaments] 

4to (180-135 mm.). Pp. 8 (Pp. 1-6 printed centrally 
within round brackets at the top of the page). A 4 (the first 
two leaves signed, the last leaf, probably blank, missing). 

[Collation] : P. 1 [commences with ornament and title- 
heading (as above) in five lines, followed by text com- 
mencing] " Nymphae quae colitis hightissima Monta Fifcea"\ 
P. 6 [ends] "una nee interea spillata est droppa cruoris " | 
[Rule] I "Finis" I [Rule] I . 

XVII ( = S) POLEMO-MEDINIA. Oxford, 1691. 

Description and collation according to the Edinburgh 
University copy. 

Kirk on the Green. | [Rule.] | Recensuit, Notisque illus- 
travit I E. G. | [Rule] | OXONII, | E Theatro Sheldon- 
iano I Anno Dom. 1691. | 

4to (219-163 mm.). Pp. [12] + 22 (numbered), a 4 , b 2 , 
A-B 4 ,C 3 (C 4 , probably blank, wanting). 

[Collation] : Leaf 1 (unsigned) Title (verso blank) ; a2 a - 
b2 b (Pp. [3-12]) LECTORI I XAIPEIN. | (P. [12], 1. 8) 
[ends] "fruere, Lector, j^> Salve. | Kalendis Januariis | An. 
MDCXCI." I ; A^-Bi^ (Pp. 1-10) POLEMO-MID- 
(P. 10, 1. 2) [ends] "Una nee interea spillata est droppa 
cruoris. ,, | ; B2 a -C3 b ( P P- lI ~ 22 ) Christs Kirk I ON THE 


GREENE. | COMPOSED | {As is supposed) by King 
James the Fifth. | . . . (P. 22) [ends] " FINIS." | [Rule] ; 
[C4, probably blank, wanting.] 

Drummond's name appears for the first time as the 
author of Polemo-Medinia in this edition, published at 
Oxford in 1691 by Edmund Gibson, subsequently and 
successively Bishop of Lincoln and of London, together 
with a new edition of the old Scottish poem, Christ's 
Kirk on the Green, supposed to be by James V. of Scot- 
land. To his edition Gibson prefixed a Latin essay on 
Macaronic poetry generally, and added an elaborate 
commentary, also in Latin, on both poems. 

Copies of this edition are not so scarce, and may be 
found in the Bodleian, in the British Museum, at Britwell 
Court, at Chats worth, in the library of the University of 
Edinburgh, and in the Advocates' Library. 

Numerous editions of Polemo-Medinia were printed 
during the eighteenth and the early nineteenth centuries, 
and a free and extended translation in Scottish verse 
appeared at Edinburgh in 1846, under the title The 
Muckomachy ; or The Midden-Fecht (Polemo-Middinia). 
A Poem, in three Cantos. By William Drummond, Esq., 
of Hawthornden. With Enlargements by the Moderns. 

The following is a list, also chronologically arranged, 
of the more recent editions of Drummond's poetical 
works up to date, as well as of A Cypresse Grove. 

I. A Cypress Grove : or, Philosophical Reflections 
against the Fear of Death. Written by the late William 
Drummond, Esq., of Hawthornden. A new Edition 
corrected. Glasgow : Printed by Robert Urie, MDCCL1. 

8vo. Pp. 102. 

II. The Poems of William Drummond of Hawthornden. 
London : Printed for J. Jeffery, Pall Mall, M.DCC.XC. 

8vo. Pp. viii + 326. Engraved portrait of Drummond 
as frontispiece, from the painting attributed to C. Jansen. 

This edition follows fairly closely the folio edition of 


1 71 1, with the addition at the end of a few pieces from 
the Poems (1616). 

It was reissued the following year (1791), without 
any change, by E. Jeffery. 

III. The Poetical Works of William Drummond, Esq. 
(forming part of the fourth volume, pp. 619-698, of 
Anderson's " Works of the British Poets "). Edinburgh, 
1793. 8vo. 

IV. The Poems of William Drummond (forming part of 
the fifth volume, pp. 637-712, of Chalmers's "Works of the 
English Poets "). London, 18 10. 8vo. 

V. The Poems of William Drummond of Hawthornden. 
Printed at Edinburgh : MDCCCXXXII. 

4to. Pp. xxiv + 418. Portrait of Drummond, as frontis- 
piece, according to a miniature which was then at Haw- 
thornden, but which has since disappeared. 

This is the most complete of all previous editions of 
Drummond's poetical works, and was privately printed 
by the late Mr. Macdowall of Garthland, for presentation 
to his fellow-members of the Maitland Club. It was 
jointly edited by Mr. Thomas Maitland (afterwards 
Lord Dundrennan) and Mr. David Irving of the 
Advocates' Library, Edinburgh. Besides all the poems 
printed in former editions, and A Cypresse Grove, this 
sumptuous volume contains certain commendatory verses 
by Drummond, now first collected from the works to 
which they were prefixed ; the poems first published by 
Laing from the Hawthornden manuscripts ; and " Lines 
on the Bischopes," from a manuscript in the Advocates' 

The Maitland Club publication, which is becoming 
very scarce, shows a great advance on previous editions, 
chiefly because its text reproduces that of the original 
editions, though with hardly sufficient care. No account 
however is taken of the variants, all critical apparatus 
is wanting, and there is a total absence of annotations. 


The introduction, too, is quite inadequate, and the biblio- 
graphy is of the scantiest. 

VI. The Poems of William Drummond, of Hawthornden. 
With Life, by Peter Cunningham. London : Cochrane 
and McCrone, 1833. 

8vo. Pp. viii + 336. 

This edition contains selections only of Drummond's 
poems — such selections only, according to the editor, 
as are worth preserving. 

It was reissued at Edinburgh in 1852, with the following 
title-page : " Poems by that most famous Wit, William 
Drummond of Hawthornden. Edinburgh : James Stillie, 
1852." Both copies are otherwise identical, except that 
the later issue contains two engravings — one of Drummond 
and the other of Hawthornden Castle. 

VII. The Poetical Works of William Drummond of 
Hawthornden. Edited by William B. Turnbull. (Library 
of Old Authors). London : John Russell Smith, Soho 
Square, 1856. 

8vo. Pp. xx + 346. Engraved portrait (the same as in the 
Maitland edition) of Drummond, as frontispiece. 
Reissued without any alteration (London, 1890). 

The arrangement and text adopted in this edition 
is that of the Maitland Club edition, with the exception 
that A Cypresse Grove is omitted, as are also the nine 
sonnets of Flowres of Sion, which figure with slight 
variations in Vrania. The orthography of the Maitland 
text is modernised. 

VIII. The Poems of William Drummond of Hawthorn- 
den. Edited with a Memoir and Notes by Wm. C. Ward. 
(Muses' Library). London (Lawrence and Bullen), New 
York (Chas. Scribner's Sons), 1894. 

Two vols., 8vo, pp. cxxv + 245 + 348. Engraved portrait 
of Drummond by R. Gaywood, as frontispiece. 

This edition contains all the matter printed in that of 


the Maitland Club. The arrangement of Drummond's 
various poetical works, however, is somewhat different. 
The orthography is modernised, and not infrequently 
the form of the words also, to the detriment of rime and, 
occasionally, of sense. The text is not critically established 
and is perhaps the weakest part of an otherwise very 
serviceable edition, provided with a good introduction 
and interesting notes (notes are lacking in all the other 
editions), in which the editor for the first time has traced 
in part Drummond's large debt to the Italian poets. 
The bibliography, though not quite so worthless as that 
in the Maitland Club edition, is altogether inadequate. 

IX. A Cypress Grove, by William Drummond of Haw- 
thornden. London (E. Grant Richards), 1905. 

8vo. Pp. 63. (Reprinted from the folio edition of 171 1.) 

X. A Cypress Grove, by Wm. Drummond of Haw- 
thorn den. The Shakespeare Head Press, Stratford-on-Avon, 

8vo. Pp. [3] + 48. Engraved portrait, as frontispiece, 
of Drummond, according to the painting attributed to 
C. Jansen. 



1. Facsimile of Page from the Hawthorn- 

den MSS. .... Frontispiece 

2. Facsimile of Ti tie-Page. T eaves on 

the Death of Meliades. Edin- 
burgh, 1613 .... Facing page xlvi 

3. Facsimile of Title-Page. Mavsolevm. 

Edinburgh, 1613 . . . . ,, xlviii 

4. Facsimile of Title-Page. Teares on 

the Death of Moeliades. The 

Third Edition. Edinburgh, 1614 „ 1 

5. Facsimile of another Title-Page. 

Teares on the Death of Moeliades. 
The Third Edition. Edinburgh, 
1614 „ Hi 

6. Facsimile of Title-Page. Poems. 

? Edinburgh, ? 1614 . . „ liv 

7. Facsimile of Title-Page. Poems. 

Edinburgh, 1616 ... ,, lxiv 

8. Facsimile of Frontispiece. Poems. 

Edinburgh, 1616 . . . ,, lxvi 

9. Facsimile of Title-Page. The Muses 

Welcome. Edinburgh, 1618 . „ lxx 

10. Facsimile of Title-Page. Flowres of 

Sion. 1623 .... „ lxxii 

VOL. I xcvii g 



11. Facsimile of another Title - Page. 

Flowres of Sion. 1623 

12. Facsimile of another Title -Page. 

Flowres of Sion. 1623 

13. Facsimile of Title-Page. Flowres of 

Sion. First issue. Edinburgh, 

14. Facsimile of Title -Page. Poems. 

The Second Impression. Edin- 
burgh, 1616 .... 

15. Facsimile of Pyramid Poem. From 

the Poems. Edinburgh, 1616 . 

16. Facsimile of Half -Title Page. Madri- 

galls, and Epigrammes. From 
the Poems. Edinburgh, 1616 . 

17. Facsimile of Title -Page. Forth 

Feasting. Edinburgh, 1617 

Facing page lxxiv 



On page 84 



Poems in Commendation of 
the Author. 

Poems in Commendation of 
the Author. 

[From the Poems. ? Edinburgh, ? 1614.] 


SWanne which so sweetly sings, 
By Aska's Bancks, and pitifully plaines, 
That old Meander neuer heard such Straines, 
Etemall Fame, thou to thy Countrie brings : 
5 And now our Calidon 
Is by thy Songs made a new Helicon. 
Her Mountaines, Woods, and Springs, 
While Mountaines, Woods, Springs be, shall sound thy 
10 And though fierce Boreas oft made pale her Bayes, 
And kill those Mirtills with enraged Breath, 
Which should thy Br owes enwreath ; 
Her Floods haue Pearles, Seas Amber doe send foorth, 
Her Heauen hath golden Starr es to crowne thy Woorth. 


[From the Poems, The Second Impression. Edinburgh, 161 6.] 

To the Author. 

WHile thou dost praise the Roses, Lilies, Gold, 
Which in a dangling Tresse and Face appeare, 
Still stands the Sunne in Skies thy Songs to heare, 
A Silence sweet each Whispering Wind doth hold ; 
5 Sleepe in Pasitheas Lap his Eyes doth fold, 



The Sword falls from the God of the fift Spheare, 
The Heards to feede, the Birds to sing, forbear e, 
Each Plant breathes Loue, each Flood and Fountaine cold : 
And hence it is, that that once Nymphe, now Tree, 
10 Who did th } Amphrisian Shepheards Sighes disdaine, 
And scorn 'd his Layes, mou'd by a sweeter Veine, 
Is become pittifull, and followes Thee : 

Thee hues, and vanteth that shee hath the Grace, 
A Garland for thy Lockes to enterlace. 


To the Author. 

IN Waues of Woe thy Sighes my Soule doe tosse, 
And doe burst vp the Conduits of my Teares, 
Whose ranckling Wound no smoothing Baulme long 

But freshly bleedes when Ought vpbr aides my Losse. 
5 Then thou so sweetly Sorrow makes to sing, 
And troubled Passions dost so well accord, 
That more Delight thine Anguish doth afford, 
Than others Ioyes can Satisfaction bring. 
What sacred Wits (when rauish'd) doe affect, 
10 To force Affections, metamorphose Mindes, 

Whilst numbrous Power the Soule in secret bindes, 
Thou hast perform* d, transforming in Effect : 
For neuer Plaints did greater Pittie moue, 
The best Applause that can such Notes approue. 

S r - W. Alexander. 

To the Author. 

THe sister Nymphes who haunt the Thespian Springs, 
Ne're did their Gifts more liberally bequeath 
To them who on their Hills suck'd sacred Breath, 
Than vnto thee, by which thou sweetly sings. 
5 Ne're did Apollo raise on Pegase Wings 


A Muse more neare himself e, more farre from Earth, 
Than thine ; if Shee doe weepe thy Ladies Death, 
Or sing those sweet-sowre Panges which Passion brings. 
To write our Thoughts in Verse doth merite Praise, 
10 But those our Verse to gild in Fictions Ore, 

Bright, rich, delightfull, doth deserue much more, 
As thou hast done these thy delicious Layes : 
Thy Muses Morning (doubtlesse) doth bewray 
The neare Approach of a more glistring Day. 

D. Murray. 


[From Phillips's edition of the Poems. London, 1656.] 

Vpon the incomparable Poems of 
Mr. William Dmmmond. 

TO praise these Poems well, there doth require 
The selfe-same spirit, and that sacred fire 
That first inspir'd them ; yet I cannot choose 
But pay an admiration to a Muse 
5 That sings such handsome things ; never brake forth, 
From Climes so neare the Beare, so bright a worth ; 
And I beleeve the Caledonian Bow'rs 
Are full as pleasant, and as rich in flow'rs 
As Tempe ere was fam'd, since they have nourish' d 

10 A wit the most sublime that ever flourish' d ; 
There's nothing cold, or frozen, here contain' d, 
Nothing that's harsh, unpolish'd, or constrain' d, 
But such an ardour as creates the spring, 
And throws a chearfulnesse on every thing ; 

15 Such a sweet calmnesse runs through every verse 
As shews how he delighted to converse 
With silence, and his Muse, among those shades 
Which care, nor busie tumuli, e're invades ; 
There would he oft, the adventures of his loves 


20 Relate unto the Fountaines, and the groves, 
In such a straine as Laura had admir'd 
Her Petrarch more, had he been so inspir'd. 
Some, Phoebus gives, a smooth and streaming veine, 
A great and happy fancy some attaine, 

25 Others unto a soaring height he lifts ; 
But here he hath so crouded all his gifts, 
As if he had design' d in one to try, 
To what a pitch he could bring Poetry ; 
For every grace should he receive a Crown, 

30 There were not Bays enough in Helicon : 

Fame courts his Verse, and with immortall wings 

Hovers about his Monument, and brings 

A deathlesse trophy to his memory ; 

Who, for such honour, would not wish to dye P 

35 Never could any times afford a Story 

Of one so match'd unto great Sidney's glory ; 
Or Fame so well divided, as between 
Penhurst's renowned shades, and Hawthornden. 

Edw: Phillips. 

De Gulielmo Drummondo. 

QUsesivit Latio Buchananus carmine Laudem, 
Et patrios dura respuit aure modos ; 
Cum possit Laths Buchananum vincere Musis 
Drummondus, patrio maluit ore loqui : 
5 Major ut est, primas hinc defer t Scotia, vates, 
Vix inter Latios ille secundus erat. 

[Arturus Jonstonus.] 

To W. D. 

SOme will not leave that Trust to Friend, nor Heire, 
But their own winding-Sheet themselves prepare ; 
Fearing, perhaps some courser Cloath might shroud 
The wormes descended from their noble Bloud : 


5 And shall not thou {that justlier maist suspect 

Far courser stuff e, in such a dull neglect 

Of all the Arts, and dearth of Poetry) 

Compose before hand thine own Elegy ? 

Who but thyself is capable to write 
10 A Verse, or, if they can, to fashion it 

Unto thy Praises ? None can draw a Line 

Of thy perfections, but a hand divine. 
If thou wilt needs impose this Task on us, 

{A greater Work than best Wits can discusse) 
15 We will but only so far Embleme Thee, 

As in a circle, men, the Deity. 

A wreath of Bayes we'll lay upon thy Herse ; 

For that shall speake Thee better than our Verse : 

That art in number of those Things, whose end, 
20 Nor whose beginning we can comprehend. 

A Star, which did the other Day appeare, 

T' enlighten up our darkened Hemispheare : 

Nor can we tell nor how, nor whence it came, 

Yet feele the heat of thy admired flame. 
25 'Twas thou that thaw'd our North, 'twas thou didst clear e 

The eternall mists which had beset us here, 

Till by thy golden Beames and powerfull Ray 

Thou chas'd hence darknesse, and brought out the Day. 

But as the Sun, though he bestow all Light 
30 On us, yet hinders by the same our sight 

To gaze on him ; So thou, though thou dispence 

Far more on us by thy bright influence, 

Yet such is thy transcendent brightnesse, we 

Thereby are dazled, and cannot reach thee ; 
35 Then art thou lessened, should we bound thy Praise 

Your narrow dull conceit, which cannot raise 

Themselves beyond a vulgar Theame, nor fly e 

A pitch like unto thine in Poesie ; 

Yet (as the greatest Kings have sometimes dain'd 
40 The smallest Presents from a poore man's hand ; 

When pure devotion gave them) it may be 


Your Genius will accept a mite from me : 

It speaks my Love, although it reach not you ; 

And you are praised, when I would so do. 

John Spotswood. 

To William Drummond of 

I Never rested on the Muses bed, 
Nor dipt my Quill in the Thessalian Fountaine, 
My rustick Muse was rudely fostered, 
And flies too low to reach the double mountaine. 

5 Then do not sparkes with your bright Suns compare, 
Perfection in a Womans work is rare ; 
From an untroubled mind should Verses flow ; 
My discontents make mine too muddy show ; 
And hoarse encumbrances of houshold care ; 
10 Where these remaine, the Muses ne're repaire. 

If thou dost extoll her Haire, 

Or her Ivory Forehead fair e, 

Or those Stars whose bright reflection 

Thrals thy heart in sweet subjection : 

15 Or when to display thou seeks 

The snow-mixt Roses on her Cheekes, 
Or those Rubies soft and sweet, 
Over those pretty Rows that meet. 
The Chian Painter as asham'd 

20 Hides his Picture so far fam'd ; 
And the Queen he carv'd it by, 
With a blush her face doth dye, 


Since those Lines do limne a Creature 

That so far surpast her Feature. 
25 When thou shew'st how fairest Flora 

Prankt with pride the banks of Ora, 

So thy Verse her streames doth honour, 

Strangers grow enamoured on her, 

All the Swans that swim in Po 
30 Would their native brooks forgo, 

And, as loathing Phoebus beames, 

Long to bath in cooler streames. 

Tree-turn'd Daphne would be seen 

In her Groves to flourish green, 
35 And her Boughs would gladly spare 

To frame a garland for thy haire, 

That fairest Nymphs with finest fingers 
May thee crown the best of singers. 

But when thy Muse dissolved in show'rs, 
40 Wailes that peerlesse Prince of ours, 
Cropt by too untimely Fate, 
Her mourning doth exasperate 
Senselesse things to see thee moane, 
Stones do weep, and Trees do groane, 
45 Birds in aire, Fishes in flood, 
Beasts in field forsake their food ; 
The Nymphs forgoing all their Bow'rs 
Teare their Chaplets deckt with Flow'rs ; 
Sol himselfe with misty vapor 
50 Hides from earth his glorious Tapor, 
And as mov'd to heare thee plaine 
Shews his grief e in show'rs of raine. 

Mary Oxlie of Morpet. 



[From the folio edition of the Works. Edinburgh, 171 1.] 

Damon : 


A PASTORAL ELEGY, on the Death of his 
Honoured Friend William Drummond of 


Tu decus omne tuis, postquam te fata tulerunt, 
Ipsa Pales agros, at que ipse reliquit Apollo. 


THE lonely Lysis, whom a froward Fate 
Full Twenty Summers in a sober State, 
Had seen a Stranger to his Native Soil, 
In Foreign Fields, worn with the weary Toil 
5 Of wandring, waiting on a wayward Flock 
Which neither hois'd his Hopes, nor swell'd his Stock ; 
One Day went pensive o're a pleasant Plain, 
Near where old Maes doth fall into the Main : 
His Heart was heavy, and he knew not why, 

10 His Lambs did bleeting go, the surly Sky 
Seem'd to presage a Storm, which to prevent 
Unto his old Retreat he swiftly went. 
An Aged Elme there was, whose spreading Arms 
Had shelter' d him from many Showers and Storms, 

15 And on whose wrinkl'd Rind in such Distress 
His Knife his younger Fancies did express, 
In Love-Knots, Letters, Ciphers ; which could shew 
The Story of his Life to. them who knew 
His former Loves. There scarce he was well set, 

20 When o're the Plain came posting, panting, wet, 
The young Alcydon, who not long before 
Was from his Native Albany come o're. 


Lysis, who lov'd him (since he had not seen 
His Face in many Years) thought it had been 

25 Some Ghost or Shadow that did fool his Sense, 
Until his Smile did check that Fear's Offence : 
Then falling on his Neck in kind Embrace, 
Dear Son, said he, my Soul this Hap doth bless 
That brought thee hither, welcome with my Heart, 

30 Come sit by me, and freely now impart 
The State and Story of the Herds and Swains 
That Graze on Caledonia's Hills and Plains. 
Alcydon sigh'd, and with a downcast Look, 
Eyes swoln with Tears, thus staring, softly spoke. 

35 Heaven's Anger long hath blaz'd into a Flame, 

And scorch'd that Land, whose Sin hath brought on 

Shame ; 
Since Sion's Shepherd's sweet and saving Song 
Was slighted there, the Sheep have all gone wrong : 
Strange Schism the Sacrifices hath defac'd, 

40 New Ways of Worship purblind Zeal hath plac'd, 
And planted in the People's giddy Pates, 
Where each will have his own, all other hates : 
These Frenzies from the Neighbour Country came, 
Where Sects have shuffl'd all things out of Frame, 

45 And (which with Horrour all the World doth hear) 
Rebellion choak'd Religion, Treason Fear ; 
So far that Clowns conspir'd against the Crown, 
And hew'd Heaven's sacred Image Headless down. 
Which heinous Crime hath call'd a Curse from high, 

50 That yet upon the Land doth heavy ly. 

And We, whose tender Hearts were ta'en with Tears 
At first, to be made Fools, (tho' promis'd Shares, 
In that pretended Happiness they Preach'd, 
When with joint Powers their Point they should have 
reach' d) 

55 Now reap for Thanks, Disdain, Contempt and Scorn, 
Hostility and Hate of Knaves forsworn ; 
And were it not the Hope they have at Home, 


To see their Prince, to save his People, come, 
The Swains would all for Sorrow faint and fly, 

60 As many do for Grief and Anguish die, 
Of which, alace ! old Damon was the First, 
Whose Royal, Loyal, Noble Heart did burst, 
To see these Stirrs, the Stars with sad Aspects 
Had shown him long with all their dire Effects ; 

65 For he was well acquainted with the Spheres, 

And knew how they inclin'd, whose Power sways theirs. 

When Lysis, list'ning, heard of Damon's Death, 
A deep fetcht Sigh well nigh drew out his Breath, 
Tears drown'd his Eyes, his hoary Head he hung, 

70 And in that Posture had not Pulse nor Tongue, 
But, like a Lifeless Statue, senseless sat ; 
So deep these Words did wound as Thunder-shot : 
Till with A ley don's loud and frighted Cry 
(Who call'd for Help, tho' none there was near by) 

75 Awak'd, he lifted up his heavy Head, 
And softly said, Ay me, is Damon dead ? 
Then as reviving, fetching Breath again, 
In scalding Sighs, Tears trickling down amain, 
Am I awake ? said he, or do I dream ? 

80 To hear that Damon now is but a Name, 

And his fair Soul to Heaven hath ta'en her Flight, 
For lasting Sun-shine leaving this weak Light ! 
The Glory then of Grampian Swains is gone : 
Let Fields and Flocks his Loss for ever moan. 

85 Burst forth my Soul in Sorrows saddest Strain, 
Sigh Heart, and break, and wish no more again 
Those Home-bred Haunts and Flow'ry Fields to see, 
Whose Love and Longing late possessed thee. 
Farewell those Fancies, since the Herdsmen's Head 

90 (Apollo's Priest, whose Learned Lays did lead 
The lovely Nymphs, enchanted with his Song, 
O're Ochil's Snowy Tops in pompous Throng, 
And brought these Beauteous Girles, in gawdy Train, 
Home dancing to his Hawthornden again.) 


95 Is now no more the Wonder of our Woods, 
The Valley's Wish, the Fav'rite of our Floods, 
Since He, Grief ! hath left these Lawnes and Hills, 
These silver Streams, and soft Meandring Rills, 
Which often stray'd and swell'd for Joy to hear 

ioo His Roundelays, and did their Burden bear 
To Thetis Court, where all the Tritons rounded 
About to learn, and straight the Tunes resounded. 

Ah ! when I call to Mind that happy Time, 
When my fresh Youth was in her Flow'ry Prime, 

105 Ere Beauty's Force I found, or felt Love's Flame, 
And first a Stripling 'mongst the Shepherds came, 
Kind Damon was the Peer of all the Plains, 
The Valley's Honour, Glory of the Swains ; 
And when his Reed or sweet Rebeck was heard, 

no Our Flocks forgot to Feed, they stood and star'd, 
The Nightingales came near new Notes to learn, 
The Stags were roused from the brushy Fairn, 
The wanton Wood-Nymphs were no longer wild, 
But danc'd about, and on him sweetly smil'd : 

115 Or did he Sing, the Shepherds all were still, 

The Birds were hush'd, Brooks sleept, from Dale nor Hill 

No Noise was heard, soft Silence shut up all, 

To Muse on his Melodious Madrigal. 

His Matchless Muse had such a swelling Vein, 

120 In rich Expressions, and so sweet a Strain, 

That Sun, Stars, Season's Glory, Nature's Treasure, 
All that is rich and rare for Pomp and Pleasure, 
Could scarcely serve his Subject to set forth 
Or fit his Fancy's Force, his Brain's huge Birth, 

125 Gold, Saphyres, Roses, Rubies, Azure Skies, 
Al'baster, Amber, Diamonds wanted Dyes, 
To limm his Auristella to the Life, 
Whose Beauty brav'd the Lemnian's lovely Wife ; 
Nor Ochil's Snows, nor Lilly of the Brook, 

130 Nor Tyrian Purple, nor that Flower that took 
His Blush from that fair Boy Apollo slew, 


Had Colours fine enough for her fair Hue, 
While by fair Ora's Flow'ry Banks She sported, 
Where Swans did sweetly sing, and Swains resorted. 

135 In what sweet Sighs did He his Sorrows sing, 
And all Bodotria's weeping Beauties bring 
Like Niobe's, to wash the sacred Urn, 
With Tears the brave Mceliades to mourn ? 
That from the swelling Banks of Tweed and Thame, 

140 He made deaf Nilus Dwellers hear his Name, 
And gawdy Ganges Nymphs in sad Despair, 
To rend their Vails and tear their golden Hair, 
Blew Doris and her Daughters were so taken 
With Grief, that they all Songs have since forsaken ; 

145 The Dryade in his Cave that closely dwells, 

Did fright the Neighbouring Woods with woful Yells, 
And make the fainting Esk for Fear look black 
To keep that Colour for her Henry's sake. 

And how did he from black Benlowmond bring 

150 Old Father Forth, to Feast his Lord and King ? 
With all these famous Floods so well attended, 
(A Train that Tiber envy'd, but commended) 
And to his Prince a Panegyrick sung, 
That Mantua's Muse, and A sera's both had hung 

155 Their Heads for shame, his Heavenly Strains to hear ; 
For Po ne're had a Nymph that could come near 
His high and hardy Note, nor Helicon 
A more Majestick Muse ne'r sat upon. 

O how could he with more than Mortal Measure 

160 Transport the Soul into that Height of Pleasure ? 
In sacred Ext'sy when he sung the Wonders 
Of him that fram'd the World, and forg'd the Thunders ? 
And soaring high on Contemplation's Wings, 
Show how the Earth below Self-ballanc'd hings, 

165 By Heaven alike embrae'd on every side, 

And sees here Snow, there Summer's painted Pride ? 
Or when in Raptures ravish'd he would rise 
To reach a Strain beyond the Stars and Skies, 


In what transcendent Terms could he set forth 

170 Heav'ns Glory (tho* no Words can weigh their Worth) 
And of the choicest Flowers of Sion frame 
For Angels Brows a fragrant Anadem ? 

How could his Soul in sacred Silence steal 
Into these blessed Bounds, and thence reveal 

175 The State and Splendour of the Court above, 
So sweetly shadow'd in his Cypress Grove ? 
Had he not had his Urany for Guide, 
Her holy Ways to walk, her Paths to tread ? 
What Heathen hath a Heart so hard, to hear 

180 His sacred Song, and would not faint for Fear ? 
While he the Shadow of the Judgment sings, 
That Court of Conscience, where the King of Kings 
The wicked World shall from the Four Winds call, 
Before His Throne, both rich, poor, great and small, 

185 To hear a Happy or a Horrid Doom, 

Where ah ! too many never think to come, 
But dally out their Days in vain Delight, 
Delaying still, till Death blows out their Light, 
And Darkness drown them in a Dungeon deep, 

190 Where damned Ghosts still dying wail and weep. 
But when my Soul with Wonder and Delight 
Those holy Numbers weighs : where ravish'd quite 
Beyond himself, above the Heavens as far, 
As from Earth's Surface to old Saturn's Star, 

195 He sings that smooth Hymn of the Fairest Fair, 
In sweet Seraphick Stile, high swelling rare, 
My Thoughts transported in a Trance outfly 
The Reach of Reason and Mortality ; 
And humbly falling Heaven's high Throne before, 
200 With Sighs and Fear that Majesty adore, 

Whose glorious Grandeur there he seeks to limn 
As bright as Art can draw with Eyes so dimm ; 
(Tho' all Her Skill come far far short alace !) 
As one would with a Coal the Sun-shine trace : 
205 Yet never Mortal more Divinely sung 

vol. i h 


Those Marvels that best suit an Angel's Tongue. 

His youthful Fancies, tho' he term'd them Toys, 
Were rich Conceits, beyond the common Poise 
Of vulgar Wits, which could not value them 

210 At half the Worth, for few did find His Aim ; 
And nothing had more handsomely been said, 
Than in those Flashes when He freely Play'd. 
When old Gray Hairs began grave Thoughts to suit, 
Chaste Clio charm'd his Fancies with her Flute, 

215 To leave the Mountains, Fields and Flocks forsake 
And to a Nobler Task himself betake, 
Soft shelter'd in His Grove, wrapt in His Gown, 
Which with more Glory might His Name renown : 
The Stuart's Story was a Subject fit, 

220 And both requir'd his Pen, and crav'd his Wit, 

Those Five Great JAMES'S, to the World well-known, 

At Home were Strangers still unto their own : 

And he must set them on the Stage again, 

To speak their Country's Language smooth and plain, 

225 So sweetly flowing in a flourish'd Phrase, 

That Tully's Soul his Stile doth lead and raise ; 
And such Remarks, wise Sentences, Advices, 
Good Counsels, Precepts, his whole Labour graces, 
That on Parnassus he may claim his Seat 

230 Next that great Roman rich in Rules of State. 
Dear Damon ! Is it true that thou art dead ? 
And Lysis lives a loathed Life to lead ? 
My Thoughts alace ! were always set on Thee, 
With Hope at last thy long wish'd Look to see, 

235 That my poor Muse might do Thee Homage due, 
And, after Absence long, old Love renew ; 
Which since Thou hast born hence to Heav'n with Thee 
Thy Lysis still shall love Thy Memory, 
And make both Maes and Rhine thy Name resound, 

240 As far as Shepherds by their Banks are found. 
Ay me ! why have not I old Ay ton's Vein ? 
Or great Alexis stately Tragick Strain ? 


To sound thy Vertues, sing thine Obsequies 

In Panegyricks and sad Elegies ? 
245 Earth's farthest Climates with thy Worth should ring, 

And worship Thee, where Fame can stretch a Wing. 

Yet with that Vigour, my poor Verse can fly, 

It shall record to after-times that I 

So dearly lov'd thy Worth, thy Name ador'd, 
250 Thy Friendship honour'd, and thy Death deplor'd ; 

That wheresoe're the World my Rhimes shall read, 

There Damon's Love shall live, when we're both dead : 

Nor shall I fear Antiquity to wrong, 

With our own home-bred Haunts to stuff my Song, 
255 And say our Forth, which doth so winding wander, 

As famous is by Thee, as old Mceander : 

Thy murmuring Esk and Ora's rushy Hair, 

With Mincius and old Tiber to compare ? 

And why shall I not freely venture then 
260 To match with Helicon thy Hawthornden ? 

Thy Grotte, in which grim Saturn still remains, 

Bound to the Rock with mighty Metal'd Chains ; 

The same Prophetick Spirit doth inspire 

That in Trophonius Cave set Souls on Fire ; 
265 And if the Earth from hence a Passage yields, 

It is tr^e Entry to th' Elysian Fields : 

A titter Place the Fates could never find 

To lay thy sacred Reliques up enshrin'd ; 

There all the Nymphs and Shepherd Swains can come 
270 And Yearly sing sad Hymns before thy Tomb, 

Which on the Marble cold these Lines shall keep, 

For Pilgrims all to read, and parting weep, 

That once thy Care commanded should be cut 

Upon thy Grave, if I have not forgot, 
275 Here DAMON lies, whose Songs did sometimes grace 

The Murmuring ESK ; may Roses shade the Place. 

But soft my Sorrow, now the setting Sun, 

To Thetis kind Embrace doth posting run ; 

Good-night Alcydon, all good Luck attend thee, 


280 And what thy Soul doth wish, thy Fortune send Thee. 
This said, they parted, and poor Lysis Grief 
So seis'd his Soul, which look'd for no Relief, 
That while he Careless and Cross-armed went, 
With staggering Steps his Loss for to lament, 

285 He often stood to Sigh, and at the Name 
Of Damon Fainted : So he lov'd his Fame. 

Sunt artibus arma decori. 

G. Lauder. 

Sir George Mackenzie, His Majesty's Advocate, 

being in Hawthornden's Closet, wrote down 

this Elogy of him. 

HERE liv'd that Poet, whose Immortal Name 
Was Crown'd by Lawrels, and adorn'd by Fame ; 
Whom every Man next to himself did love ; 
Who durst be Loyal, and, what's more, reprove 
5 The Vices of that base rebellious Age ; 
His was a Poet's, theirs a Tyrant's Rage. 
Each Man him then his Neighbour wish'd to be, 
And we now grieve that we did not him see. 
They did his Wit, we do his Works admire, 
10 And each young Spark does kindle at his Fire : 
Or, which is more, he Poems can beget 
On my old Muse, tho' now much past the Date. 

To the Memory of William Drummond 
of Hawthornden. 

HE who endeavours Damon's Worth to raise, 
Does not the Bards, but his own Merit praise. 
Here Ours, and England's Wits, in vain have strove 
To write his Merit, and express their Love. 
5 For Poets now to Sound enslave their Sense, 


And Gild, where they shou'd Paint true Excellence ; 
And who in duller Prose can hope to shew, 
What's to his Name or to his Labours due ? 
I own no Art can Drummond's Worth proclaim ; 
io So vast his Merit, and so loud his Fame. 

David Crawford of Drumsoy. 

By the same Hand. 

HERE Damon hVd, a Man by Heav'n inspir'd, 
At Home ador'd, by Foreigners admired : 
Vast was his Muse, his Thoughts by Art refin'd ; 
His Judgment, like his Fancy, unconfm'd ; 
5 His Country's Honour, and his Friends Delight ; 
Great Britain's Wonder, and the Age's Light. 
In ev'ry thing we find the Bard excel, 
And his Five JAMESES, and his Poems tell, 
No Man e're thought, and spoke his Thoughts so well, 
io Heav'n guard the Place, and may his Race maintain 
That Stock of Fame which he did justly gain. 

Upon Hawthornden's Muse. By the Same. 

HERE Mighty Damon often sat, 
When he in heav'nly Numbers writ. 
The Place seems pointed out by Fate, 
And for a Muse, like his, made fit. 

5 His Cypress Grove, and easy Poems show, 
What Shades like these on Souls like his can do. 
This was his Muse. This rais'd the God-like Thought, 
Which Art and Judgment to Perfection brought. 

April 30th, 1702. 


A. Teares on the Death of Meliades. Edinburgh, 1613. 

B. Mavsolevm. Edinburgh, 1613. 

C. Teares on the Death of Moeliades. Edinburgh, 


D. Poems. ? Edinburgh, ? 1614. 

' L Poems. Edinburgh, 1616. 

G. Forth Feasting. Edinburgh, 1617. 

H. Forth Feasting in The Muses Welcome. Edinburgh 


\ . Flowres of Sion. 1623. 

J. Flowres of Sion. Edinburgh, 1630. 

K. The Entertainment, etc. Edinburgh, 1633. 

L. To the Exequies, etc. Edinburgh, 1638. 

M . The History of Scotland. London, 165^. 

N. Poems. Ed. Phillips. London, 1656 and 1659. 

O. Works. Edinburgh, 1711. 

P. Hawthornden Manuscripts. 

Q. Polemo-Medinia. Edinburgh, 1684. 

R. Polemo-Medinia. ? Place. ?Date. 

S. Polemo-Medinia. Oxford, 1691. 



Plate 14. — Facsimile of Title-Page. 

Facing page i. 

To the Author. 

WHile thou dost praise the Roses, Lillies, Gold, 
Which in a dangling Tresse and Face appeare, 
Still stands the Sunne in Skies thy Songs to heave, 
A Silence sweet each Whispering Wind doth hold ; 
Sleepe in Pasitheas Lap his Eyes doth fold, 
The Sword falls from the God of the lift Spheare, 
The Heards to feede, the Birds to sing, forbeare, 
Each Plant breathes Loue, each Flood and Fountaine cold : 
And hence it is, that that once Nymphe, now Tree, 
Who did th' Amphrisian Shepheards Sighes disdaine, 
And scorn' d his Layes, rnou'd by a sweeter Veine, 
Is become pittifull, and followes Thee : 

Thee hues, and vanteth that shee hath the Grace, 

A Garland for thy Lockes to enterlace. 


In D and N, this sonnet is entitled " Parthenivs," and bears no 



BY W. D. 


Sonnet, [i] ' 

N my first Yeeres, and Prime yet not at 

When sweet Conceits my Wits did enter- 

taine, • 
Ere Beauties Force I knew or false Delight, 
Or to what Oareshee did her Captiues chaine ; 
5 Led by a sacred Troupe of Phoebus Traine, 
I first beganne to reade, then Lone to write, 
And so to praise a perfect Red and White, 
But (God wot) wist not what was in my Braine : 
Loue smylde to see in what an awfull Guise 
10 I turn'd those Antiques of the Age of Gold, 
And that I might moe Mysteries behold, 
Hee set so faire a Volumne to mine Eyes, 
That I [quires clos'd which (dead) dead Sighs but breath] 
Ioye on this liuing Booke to reade my Death. 

I. * DNO. In my first Prime, when childish Humours fed 2 DNO. 
My wanton Wit, ere I did know the Blisse 3 DNO. Lies in a louing 
Eye, or amorous Kisse 4 DNO. Or with what Sighes a Louer warmes 
his Bed 5 DNO. By the sweet Thespian Sisters Error led 6 D. I 
first begouth to read, then loue to write NO. I had more mind to 
read than lov'd to write 8 D. But [God wote] wist not what was 
in my Head NO. But [God wote] knew not what was in my Head 
9 DNO. Loue smil'd to see me take so great Delight 10 DNO. To 
turne u DNO. more 12 DNO. to my Sight 13 D. That I all 
Ephemerides laid aside NO. That I Ephemerides laid aside 14 D. 
Ioye on this blushing Booke my Death to read NO. Glad on this 
blushing Book my Death to read 



Son. [ii] 

I Know that all beneath the Moone decayes, 
And what by Mortalles in this World is brought, 
In Times great Periods shall returne to nought, 
That fairest States haue fatall Nights and Dayes : 
5 I know how all the Muses heauenly Layes, 
With Toyle of Spright which are so dearely bought, 
As idle Sounds of few, or none are sought, 
And that nought lighter is than airie Praise. 
I know fraile Beautie like the purple Flowre, 
10 To which one Morne oft Birth and Death affords, 
That Loue a Iarring is of Mindes Accords, 
Where Sense and Will inuassall Reasons Power : 
Know what I list, this all can not mee moue, 
But that (6 mee !) I both must write, and loue. 

Son. [hi] 

YEe who so curiously doe paint your Thoughts, 
Enlightning eu'rie Line in such a Guise, 
That they seeme rather to haue fallen from Skies, 
Than of a humane Hand bee mortall Draughts ; 
5 In one Part Sorrow so tormented lies, 
As if his Life at eu'ry Sigh would parte, 
Loue here blindfolded stands with Bow and Dart, 
There Hope lookes pale, Despaire with rainie Eyes : 
Of my rude Pincell looke not for such Arte, 
io My Wit I finde now lessened to deuise 
So high Conceptions to expresse my Smart, 
And some thinke Loue but fain'd, if too too wise : 
These troubled Words and Lines confus'd you finde, 
Are like vnto their Modell my sicke Minde. 

II. 5 NO. I know that all 8 DNO. That there is nothing lighter 
than [D then] vaine Praise 10 In some copies of F, (as, for example, 
in the Edinburgh University copy) the t of oft is added in ink 12 DNO 
bring vnder Reasons Power 13 O. all this 14 DNO. But that (alas) 

III. 4 DNO. by mortall Draughts 8 DNO. naming Eyes 10 D. 
My Wit I finde growne lesse for to deuise NO. My Wit I find too 
little to devise 12 DNO. And some say Loue is faign'd that's too 
too wise 


Son. [iv] 

FAire is my Yoke, though grieuous bee my Paines, 
Sweet are my Wounds, although they deeply smart, 
My Bit is Gold, though shortned bee the Raines, 
My Bondage braue, though I may not depart : 
5 Although I burne, the Fire which doth impart 
Those Flames, so sweet reuiuing Force containes, 
That (like Arabias Bird) my wasted Heart 
Made quicke by Death, more liuely still remaines. 
I joye, though oft my waking Eyes spend Teares, 
10 I neuer want Delight, euen when I grone, 
Best companied when most I am alone, 
A Heauen of Hopes I haue midst Hells of Feares : 
Thus euery Way Contentment strange I finde, 
But most in Her rare Beautie, my rare Minde. 

Son. [v] 

HOw that vaste Heauen intitled First is rold, 
If any other Worlds beyond it lie, 
And People liuing in Eternitie, 
Or Essence pure that doth this All vphold : 
5 What Motion haue those fixed Sparkes of Gold, 
The wandring Carbuncles which shine from hie, 
By Sprights, or Bodies, contrare-Wayes in Skie 
If they bee turn'd, and mortall Things behold : 
How Sunne postes Heauen about, how Nights pale Queene 
10 With borrowed Beames lookes on this hanging Round, 
What Cause faire Iris hath, and Monsters seene 
In Aires large Fields of Light, and Seas profound, 

Did hold my wandring Thoughts ; when thy sweet Eye 
Bade mee leaue all, and only thinke on Thee. 

V. 2 DN. If any glancing Towres O. If any glancing Tow'rs 
beyond it be 7 NO. crosse-waies in the Skie 


Son. [vi] 

VAunt not, faire Heauens, of your two glorious Lights, 
Which though most bright, yet see not when they 
And shining, cannot shew their Beames diuine 
Both in one Place, but parte by Dayes and Nights, 
5 Earth, vaunt not of those Treasures yee enshrine, 
Held only deare because hidde from our Sights, 
Your pure and burnish'd Gold, your Diamonds fine, 
Snow-passing Iuorie that the Eye delights : 
Nor Seas of those deare Wares are in you found, 
10 Vaunt not, rich Pearle, red Corrall, which doe stirre 
A fond Desire in Fooles to plunge your Ground ; 
Those all (more faire) are to bee had in Her : 
Pearle, Iuorie, Corrall, Diamond, Sunnes, Gold, 
Teeth, Necke, Lips, Heart, Eyes, Haire, are to behold. 

Son. [vii] 

THat learned Grcecian (who did so excell 
In Knowledge passing Sense, that hee is nam'd 
Of all the after- Worlds Diuine) doth tell, 
That at the Time when first our Soules are fram'd, 
5 Ere in these Mansions blinde they come to dwell, 
They Hue bright Rayes of that Eternall Light, 
And others see, know, loue, in Heauens great Hight, 
Not toylde with ought to Reason doth rebell ; 
Most true it is, for straight at the first Sight 
io My Minde mee told, that in some other Place 
It elsewhere saw the Idea of that Face, 
And lou'd a Loue of heauenly pure Delight. 
No Wonder now I feele so faire a Flame, 
Sith I Her lou'd ere on this Earth shee came. 

VI. * O. you enshrine 

VII. * O. all the Time 8 NO. do rebell • DNO. It is most 
true u NO. th' Idea 13 O. What wonder now 14 O. Since 


Son. [viii] 

NOw while the Night her sable Vaile hath spred, 
And silently her restie Coach doth rolle, 
Rowsing with Her from Tethis azure Bed 
Those starrie Nymphes which dance about the Pole. 
5 While Cynthia, in purest Cipres cled, 
The Latmian Shepheard in a Trance descries, 
And whiles lookes pale from hight of all the Skies, 
Whiles dyes her Beauties in a bashfull Red, 
While Sleep e (in Triumph) closed hath all Eyes, 
10 And Birds and Beastes a Silence sweet doe keepe, 
And Protevs monstrous People in the Deepe, 
The Winds and Waues (husht vp) to rest entise, 
I wake, muse, weepe, and who my Heart hath slaine 
See still before me to augment my Paine. 

Son. [ix] 

SLeepe, Silence Child, sweet Father of soft Rest, 
Prince whose Approach Peace to all Mortalls brings, 
Indifferent Host to Shepheards and to Kings, 
Sole Comforter of Minds with Griefe opprest. 
5 Loe, by thy charming Rod all breathing things 
Lie slumbring, with forge tfulnesse possest, 
And yet o're me to spred thy drowsie Wings 
Thou spares (alas) who cannot be thy Guest. 
Since I am thine, come, but with that Face 
io To inward Light which thou art wont to show, 
With fained Solace ease a true felt Woe, 
Or if deafe God thou doe denie that Grace, 

Come as thou wilt, and what thou wilt bequeath, 
I long to kisse the Image of my Death. 

VIII. 7 NO. And looking pale from 8 NO. She dies D. in a 
blushing Red 13 DNO. I wake, I turne, I weepe opprest with Paine 
14 D. Toilde in the wayles Labyrinthes of my Braine NO. Perplex'd 
in the Meanders of my Braine 

IX. 4 DNO. which are opprest 8 NO. Thou spar'st 


Son. [x] 

FAire Moone who with thy Cold and Siluer Shine 
Makes sweet the Horrour of the dreadfull Night, 
Delighting the weake Eye with Smiles diuine, 
Which Phebvs dazells with his too much Light. 
5 Bright Queene of the first Heauen, if in thy Shrine 
By turning oft, and Heauens et email Might, 
Thou hast not yet that once sweet Fire of thine 
Endemion, forgot, and Louers Plight ? 
If Cause like thine may Pitie breede in thee, 
10 And Pitie somewhat els to it obtaine, 

Since thou hast Power of Dreames as well as Hee 
Who paints strange Figures in the slumbring Braine : 
Now while She sleepes in dolefull Guise her Show 
These Teares, and the blacke Mappe of all my Woe. 

Son. [xi] 

LAmpe of Heauens Christall Hall that brings the Hours, 
Eye-dazaler who makes the vglie Night 
At thine Approach flie to her slumbrie Bowrs, 
And fills the World with Wonder and Delight : 
5 Life of all Lifes, Death-giuer by thy Flight 
To Southerne Pole from these sixe Signes of ours, 
Gold-smith of all the Starres, with Siluer bright 
Who Moone enamells, Apelles of the Flowrs. 
Ah, from those watrie Plaines thy golden Head 
10 Raise vp, and bring the so long lingring Morne, 
A Graue, nay Hell, I finde become this Bed, 
This Bed so grieuously where I am torne : 

But (woe is me) though thou now brought the Day, 
Day shall but serue more Sorrowe to display. 

X. 12 DN. That holds the golden Rod, and Morell Chaine 
XL 3 DNO. thy « NO. To the south Pole 9 O. Ah from 
these 14 DNO. moe 


Song, [i] 

IT was the time when to our Northerne Pole 
The brightest Lampe of Heauen beginnes to rolle, 
When Earth more wanton in new Robes appeareth, 
And scorning Skies her Flowrs in Raine-bowes beareth, 

5 On which the Aire moist Saphires doth bequeath, 
Which quake to feele the kissing Zephires breath : 
When Birds from shadie Groues their Loue foorth warble, 
And Sea like Heauen, Heauen lookes like smoothest Marble, 
When I, in simple Course, free from all Cares, 

10 Farre from the muddie Worlds captiuing Snares, 
By Oras flowrie Bancks alone did wander, 
Ora that sports her like to old Meander, 
A Floud more worthie Fame and lasting Praise 
Than that which Phaetons Fall so high did raise : 

15 Into whose moouing Glasse the Milk-white Lillies 
Doe dresse their Tresses and the Daffadillies. 
Where Ora with a Wood is crown' d about 
And seemes forget the Way how to come out, 
A Place there is, where a delicious Fountaine 

20 Springs from the swelling Paps of a proud Mountaine, 
Whose falling Streames the quiet Caues doe wound, 
And make the Ecchoes shrill resound that Sound. 
The Lawrell there the shining Channell graces, 
The Palme her Loue with long-stretch' d Armes embraces, 

25 The Poplar spreds her Branches to the Skie, 
And hides from sight that azure Cannopie. 
The Streames the Trees, the Trees their leaues still nourish, 
That Place graue Winter finds not without Flourish. 
If liuing Eyes Elysian fields could see 

30 This little Arden might Elysium bee. 
Here Diane often vsed to repose Her, 

I. 5 DNO. moist Diamonds 6 D. Which tremble to feele 10 NO. 
inslaving snares 14 DNO. Then that so high which Phaetons fall did 
raise 15 NO. By whose pure moving Glasse 18 NO. And {seems) 
forgets 20 NO. swelling brest 21 NO. the quiet Cav ernes wound 
31 D. Her Diane was wont for to repose Her NO. Ojt did Diana there 
her selfe repose 


And Acidalias Queene with Mars reioyce her : 

The Nymphes oft here doe bring their Maunds with 

And Anadeames weaue for their Paramours, 

35 The Satyres in those Shades are heard to languish, 
And make the Shepheards Partners of their Anguish, 
The Shepheards who in Barkes of tender Trees 
Doe graue their Loues, Disdaines, and Ielousies, 
Which Phillis when there by Her Flockes she feedeth 

40 With Pitie whyles, sometime with laughter reedeth. 
Neare to this place when Sunne in midst of Day, 
In highest top of Heauen his Coach did stay, 
And (as aduising) on his Carier glanced 
The way did rest, the space he had aduanced 

45 His panting Steeds along those Fields of light, 
Most princely looking from that gastly hight : 
When most the Grashoppers are heard in Meadowes, 
And loftie Pines haue small, or els no Shadow es, 
It was my hap, O wofull hap ! to bide 

50 Where thickest Shades me from all Rayes did hide 
Into a shut-vp-place, some Syluans Chamber, 
Whose Seeling spred was with the Lockes of Amber 
Of new-bloom' d Sicamors, Floore wrought with Flowres, 
More sweete and rich than those in Princes Bowres. 

55 Here Adon blush't, and Clitia all amazed 

Lookt pale, with Him who in the Fountaine gazed, 
The Amaranthus smyVd, and that sweet Boy 
Which sometime was the God of Delos joy : 
The braue Carnation, speckled Pinke here shined, 

60 The Violet her fainting Head declined 
Beneath a drowsie Chasbow, all of Gold 
The Marigold her leaues did here vnfold. 
Now while that rauish'd with delight and wonder, 

32 D. And th' Acidalian Queene NO. And Mars the Acidalian Queen 
enclose 33 NO. here their baskets bring 40 NO. With Pitty now, anon, 
with 44 NO. As all along, that morne he had advanced M NO. glorious 
height 48 DNO. And loftiest Pines or small, or haue no Shadowes 
51 NO. In a f aire Arbor, 'twas 61 DNO. sleepie Chasbow 


Halfe in a trance I lay those Arches vnder, 

65 The season, silence, place, did all entise 

Eyes heauie lids to bring Night on their Skies, 
Which softly hauing stollen themselues together 
[Like Euening Clouds) me plac'd I wote not whether. 
As Cowards leaue the Fort which they should keepe 

70 My senses one by one gaue place to Sleepe, 
Who followed with a Troupe of golden Slombers 
Thrust from my quiet Braine all base Encombers, 
And thrise me touching with his Rod of Gold, 
A Heauen of Visions in my Temples rolVd, 

75 To countervaile those Pleasures were bereft me, 
Thus in his silent Prison clos'd he left me. 

Me thought through all the Neighbour Woods a noyce 
Of Quiristers, more sweet than Lute or voyce, 
(For those harmonious sounds to IOVE are giuen 

80 By the swift touches of the nyne-string'd Heauen, 
Such are, and nothing else) did wound mine Eare, 
No Soule, that then became all Eare to heare : 
And whilst I listning lay gastly wonder ! 
I saw a pleasant Mirtle cleaue asunder, 

85 A Mirtle great with birth, from whose rent wombe 

Three naked Nymphes more white than snow foorth come. 
For Nymphes they seem'd, about their heauenly Faces 
In Wanes of Gold did flow their curling Tresses, 
About each Arme, their Armes more white than milke, 

90 Each weare a blushing Armelet of silke, 
The Goddesses such were that by Scamander, 
Appeared to the Phrygian Alexander, 
Aglaia, and her Sisters such perchance 
Be, when about some sacred Spring they dance. 

95 But scarce the Groue their naked Beauties graced, 

64 Some copies of F (as, for example, the Aberdeen University 
copy) have the misprint " Archers " 65 DNO. began t'entise 66 DNO. 
drowsie lids 78 D. then Lute or voice 80 O. soft Touches 81 O. Such 
Airs 82 NO. No Soule but would become 83 NO. lovely wonder ! 88 D. 
then Snow 88 DNO. floted 89 D. Each bout each Arme NO. About their 
armes 90 D. A blushing Armelet weare of crimsin Silke NO. They 
blushing Armlets wore of crimson Silke 91 NO. were such u O. Are 


And on the amorous Verdure had not traced, 
When to the Floud they ran, the Floud in Robes 
Of curling Christall to brests Yuorie Globes 
Who wrapt them all about, yet seem'd take pleasure 

ioo To showe war me Snowes throughout her liquid Azure, 
Looke howe Prometheus Man when heauenly Fire 
First gaue him Breath Dayes Brandon did admire, 
And wondred of this Worlds Amphitheater, 
So gaz'd I on those new guests of the Water. 

105 All three were faire, yet one excelVd as farre 
The rest, as Phebus doth the Cyprian Starre, 
Or Diamonds small Gemmes, or Gemmes doe other, 
Or Pearles that shining shell is calVd their Mother. 
Her haire more bright than are the Mornings Beames 

no Hang in a golden shower aboue the Streames, 
And {sweetly tous'd) her forehead sought to couer, 
Which seene did straight a Skie of Milke discouer, 
With two faire Br owes, Loues Bowes, which neuer bend 
But that a Golden Arrow foorth they send. 

115 Beneath the which two burning Planets glancing 

Flasht Flames of Loue, for Loue there still is dancing. 
Her either Cheeke resembVd a blushing Morne, 
Or Roses Gueules in field of Tillies borne : 
Betwixt the which a Wall so faire is raised, 

120 That it is but abased euen when praised. 
Her Lips like Rowes of Corrall soft did swell, 
And th' one like th' other only doth excell : 
The Tyrian Fish lookes pale, pale looke the Roses, 
The Rubies pale, when Mouths sweet Cherrie closes. 

125 Her Chinne like siluer Phebe did appeare 

Darke in the midst to make the rest more cleare : 
Her Necke seem'd framd by curious Phidias Master, 

96 NO. And on the Verdure had each other traced 98 N. Christall all 
their brests Ivory Globes O. Christall their Breaste Ivory Globes 
09 NO. Did all about incircle, yet took pleasure 10 ° DNO. white Snows 
103 NO. at this Worlds 109 D. then are uo NO. Hung m DNO. 
And dangling sought her fore-head for to couer 117 O. blushing Morn 
119 DNO. Twixt which an Yuory Wall so faire is raised 12 ° DNO. 
abased when it's praised m N. mouth 


Most smooth, most white, a piece of Alabaster. 
Two foaming Billowes flow'd vpon her Brest, 

130 Which did their tops with Corrall red encrest : 
There all about as Brookes them sport at leasure, 
With Circling Branches veines did swell in Azure : 
Within those Crookes are only found those Isles 
Which Fortunate the dreaming old World Stiles. 

135 The rest the Streames did hide, but as a Lillie 
Suncke in a Christalls faire transparent Bellie. 

I, who yet humane weaknesse did not know 
(For yet I had not felt that Archers Bow, 
Ne could I thinke that from the coldest Water 

140 The winged Youngling burning Flames could scatter) 
On euery part my vagabounding Sight 
Did cast, and drowne mine Eyes in sweet Delight. 
What wondrous Thing is this that Beautie's named 
(Said I) I finde I heretofore haue dreamed ? 

145 And neuer knowne in all my flying Dayes 
Good vnto this, that only merites Praise. 
My Pleasures haue beene Paines, my Comforts Crosses, 
My Treasure Pouertie, my Gaines but Losses. 

precious Sight ! which none doth els descrie 
150 Except the burning Sunne, and quiuering I. 

And yet deare bought Sight! would for euer 

1 might enioy you, or had ioy'd you never ! 
happie Floud ! if so yee might abide, 
Yet euer glorie of this Moments Pride, 

155 Adjure your Rillets all now to beholde Her, 

And in their Christall Armes to come and fold Her : 
And sith yee may not ay your Blisse embrace, 
Draw thousand Pourtraits of Her on your Face, 
Pourtraits which in my Heart be more apparent, 

160 If like to yours my Brest but were transparent. 

139 NO. Nor 143 DNO. O wondrous Thing (said I) that Beautie is 
named ! 144 DNO. Now I perceiue I heretofore haue dreamed 145 DNO. 
neuer found 146 D. Ioy unto this, that onlie's worthy praise NO. Ioy 
unto this, which 155 DNO. all for to 157 N. not long O. And since ye 
may not long this Bliss embrace 159 O. are 16 ° O. were but 


that I were while she doth in you play, 

A Daulphine to transport Her to the Sea, 

To none of all those Gods I would Her rander 

From Thule to Inde though I should with Her wander. 

165 Oh ! what is this ? the more I fixe mine Eye, 
Mine Eye the more new Wonders doth espie, 
The more I spie, the more in vncouth fashion 
My Soule is rauish'd in a pleasant Passion. 
But looke not Eyes, as more I would haue said 

170 A Sound of whirling Wheeles me all dismayde, 

And with the Sound foorth from the timorous Bushes 
With storme-like Course a sumptuous Chariot rushes, 
A Chariot all of Gold, the Wheeles were Gold, 
The Nailes, and Axetree Gold on which it rolVd : 

175 The vpmost Part a Scarlet Vaile did couer, 

More rich than Danaes Lap spred with her Louer : 

In midst of it in a triumphing Chair e, 

A Ladie sate miraculously faire, 

Whose pensiue Countenance, and Lookes of Honor, 

180 Doe more allure the Mind that thinketh on Her, 
Than the most wanton Face and amorous Eyes, 
That Amathus or flowrie Paphos sees. 
A Crue of Virgins made a Ring about Her, 
The Diamond shee, they seeme the Gold without Her. 

185 Such Thetis is when to the Billowes rore 

With Mermaids nyce shee danceth on the Shore : 
So in a sable Night the Sunnes bright Sister 
Among the lesser twinckling Lights doth glister. 
Faire Yoakes of Ermelines, whose Colour passe 

190 The whitest Snowes on aged Grampius Face, 
More swift than Venus Birds this Chariot guided 
To the astonish' 'd Bancke where as it bided. 
But long it did not bide, when poore those Streames 
Aye me ! it made, transporting those rich Gemmes, 

195 And by that Burthen lighter, swiftly driued 

170 NO. railing Wheeles in DNO. trembling Bushes "* NO. Axel 
176 D. then m D. Then 


Till (as me thought) it at a Towre arriued. 
Vpon a Rocke of Christall shining cleare 
Of Diamonds this Castle did appeare, 
Whose rising Spires of Gold so high them reared 

200 That Kths-like it seem'd the Heauen they beared. 
Amidst which Hights on Arches did arise 
(Arches which guilt Flames brandish to the Skies) 
Of sparking Topaces, Prowde, Gorgeous, Ample, 
(Like to a title Heauen) a sacred Temple : 

205 Whose Walls no Windowes haue, nay all the Wall 
Is but one Window, Night there doth not fall 
More when the Sunne to Westerne Worlds declineth, 
Than in our Zenith when at Noone He shineth. 
Two flaming Hills the Passage strait defend 

210 Which to this radiant Building doth ascend, 
Vpon whose Arching tops on a Pilastre 
A Port stands open, rais'd in Loues Disastre, 
For none that narrow Bridge and Gate can passe, 
Who haue their Faces seene in Venus Glasse. 

215 If those within, but to come foorth doe venter, 
That stately Place againe they neuer enter. 
The Precinct strengthened with a Ditch appeares, 
In which doth swell a Lake of Inkie Teares 
Of madding Louers, who abide there moning, 

220 And thicken euen the Aire with piteous Groning. 
This Hold (to braue the Skies) the Destines fram'd, 
The World the Fort of Chastitie it nam'd. 
The Queene of the third Heauen once to appall it, 
The God of Thrace here brought who could not thrall it, 

225 For which he vow'd ne're Armes more to put on, 
And on Riphean Hills was heard to grone. 
Here Psyches Louer hurles his Darts at randon, 
Which all for nought him serue as doth his Brandon. 

198 D. Of Diamonds wrought NO. With Diamonds wrought 20S DNO. 

The Walls 208 D. Then to our Zenit 2 " DNO. The Precinct's 

strengthened with a Ditch of Feares 219 N. their moaning 222 DNO. 
And then the Fort of Chastitie it [NO. is] nam'd 


What bitter Anguish did inuade my Minde, 

230 When in that Place my Hope I saw confinde, 

Where with high-towring Thoughts I onely reacht Her, 
Which did burne vp their Wings when they approacht Her P 
Mee thought I set me by a Cypresse Shade, 
And Night and Day the Hyacinthe there reade : 

235 And that bewailing Nightingalles did borrow 

Plaints of my Plaint, and Sorrowes of my Sorrow. 
My Food was Wormewood, mine owne Teares my Drinke, 
My Rest on Death, and sad Mishaps to thinke. 
And for such Thoughts to haue my Heart enlarged, 

240 And ease mine Eyes with brinie Tribute charged, 
Ouer a Brooke {me thought) my pining Face 
I laid, which then (as grieud at my Disgrace) 
A Face Me shew'd againe so ouer-clouded, 
That at the Sight mine Eyes afray'd them shrowded. 

245 This is the guerdon Loue, this is the Gaine 
In end which to thy Seruants doth remaine, 
I would haue said, when Feare made Sleepe to leaue me, 
And of those fatall Shadow es did bereaue me. 
But ah alas ! in stead to dreame of Loue, 

250 And Woes, mee made them in effect to proue, 
For what into my troubled Braine was painted, 
I waking found that Time, and Place presented. 

229 DNO. What grieuous Agony 241 DNO. Ouer a Brooke I laid my 
py nning Face 242 DNO. But then the Brooke as grieu'd at my Disgrace 
243 DNO. A Face Me shew'd so pyn'd, sad, ouer-clowded Zii DNO. afray'd 
mine Eyes 247 NO. More would I say ; when Feare 25 ° NO. And Woes, 
I now them in effect did prove 252 DNO. Awak'd I found 


Son. [xii] 

AH burning Thoughts now let me take some Rest, 
And your tumultuous Broyles a while appease, 
Is't not enough, Starves, Fortune, Loue molest 
Me all at once, but yee must to displease ? 
5 Let Hope (though false) yet lodge within my Brest, 
My high Attempt (though dangerous) yet praise, 
What though I trace not right Heauens steppie Wayes ? 
It doth suffice, my Fall shall make me blest. 
I doe not doate on Dayes, nor feare not Death, 
10 So that my Life be braue, what though not long ? 
Let me Renown' d Hue from the vulgare Throng, 
And when yee list (Heauens) take this borrowed Breath. 
Men but like Visions are, Time all doth claime, 
He Hues, who dies to winne a lasting Name. 

Madrigall. [i] 

ADedale of my Death, 
Now I resemble that subtile Worme on Earth 
Which prone to its owne euill can take no rest. 
For with strange Thoughts possest, 
I feede on fading Leaues 
Of Hope, which me deceaues, 
And thousand Webs doth warpe within my Brest. 
And thus in end vnto my selfe I weaue 
A fast-shut Prison, no, but euen a Graue. 

XII. 9 O. I fear not Death 10 DNO. So that my Life be braue 
[NO. good], I wishe't not long 1X D. the Mondaine Throng N. the 
Worldly Throng 12 DNO. And when Heauen lists, recall 

I. In DNO, this piece is placed among the " Madrigals and Epi- 

2 NO. she worme 3 D. doth take NO. Which prone to its 
own harme doth take no rest 4 DNO. For Day and Night opprest 
7 NO. do weepe. 8 D. wane. 9 NO. Prison, or a closer Grave. 


Sextain, [i] 

THe Heauen doth not containe so many Starres, 
So many Leaues not prostrate lie in Woods, 
When Autumne 's old, and Boreas sounds his Warres, 
So many Wanes haue not the Ocean Floods, 
5 As my rent Mind hath Torments all the Night, 
And Heart spends Sighes, when Phebvs brings the Light. 

Why should I beene a Partner of the Light ? 
Who crost in Birth by bad Aspects of Starres, 
Haue neuer since had happie Day nor Night, 
10 Why was not I a Liuer in the Woods, 
Or Citizen of Thetis Christall Floods, 
Than made a Man, for Loue and Fortunes Warres ? 

I looke each Day when Death should ende the Warres, 
Vnciuill Warres, twixt Sense and Reasons Light, 
15 My Paines I count to Mountaines, Meads, and Floods, 
And of my Sorrow Partners makes the Starres, 
All desolate I haunt the fear full Woods 
When I should giue my selfe to Rest at Night. 

With watchfull Eyes I ne're beholde the Night, 
20 Mother of Peace, but ah to me of Warres, 

And Cynthia Queene-like shining through the Woods, 
When straight those Lamps come in my Thought, whose Light 
My Iudgement dazeVd, passing brightest Starres, 
And then mine Eyes en-isle themselues with Floods. 

25 Turne to their Springs againe first shall the Floods, 
Cleare shall the Sunne the sad and gloomie Night, 
To dance about the Pole cease shall the Starres, 
The Elements renew their ancient Warres 

I. 2 NO. Nor levell'd lye so many leaves in Woods 3 NO. When 
Autumne and cold Boreas sound their Wars 6 NO. torn Mind 7 NO. 
Why was I made a Partner 8 DNO. aspect 12 D. Then fram'd a 
Man NO. But fram'd a Man 22 NO. But straight 


Shall first, and bee depriu'd of Place and Light, 
30 Ere I finde Rest in Citie, Fields, or Woods. 

Ende these my Dayes Endwellers of the Woods, 
Take this my Life yee deepe and raging Floods, 
Sunne neuer rise to clear e mee with thy Light, 
Horror and Darknesse keepe a lasting Night, 
35 Consume me Care with thy intestine Warres, 
And stay your Influence o're me bright St aires. 

In vaine the Starres, Endwellers of the Woods, 
Care, Horror, Warres i" call and raging Floods, 
For all haue sworne no Night shall dimme my Sight. 

Son. [xiii] 

O Sacred Blush impurpling Cheekes pure Skies, 
With crimson Wings which spred thee like the 
O bashfull Looke sent from those shining Eyes, 
Which (though cast down on Earth) couldst Heauen 
adorne ! 
5 O Tongue in which most lushious Nectar lies, 
That can at once both blesse and make forlorne, 
Deare Corrall Lip which Beautie beautifies, 
That trembling stood ere that her words were borne. 
And you her Words, Words no, but Golden Chaines 
10 Which did captiue mine Eares, ensnare my Soule, 
Wise Image of her Minde, Minde that containes 
A Power all Power of Senses to controule : 
Yee all from Loue diss wade so sweetly mee, 
That I loue more, if more my Loue could bee. 

31 NO. you Inmates of the Woods 37 D. th' Endwellers N. th' 
Inhabitants o' th' Woods O. the Inhabitants o' th' Woods 

XIII. 4 NO. Which though slid down on Earth doth Heaven 
adorne 8 DNO. before her words 10 NO. inslave my eares 12 D. 
all Power of Sense 18 D. So sweetly yee from Loue dissuade all me 
NO. So sweetly you from Love disswade do me 14 DNO. can be 


Son. [xiv] 

NOr Arne, nor Mincius, nor stately Tyber, 
Sebethus, nor the Floud into whose Streames 
He fell who burnt the World with borrow'd Beames, 
Gold-rolling Tagus, Munda, famous Iber ; 
5 Sorgue, Rosne, Loire, Garron, nor prowd-banked Seine, 
Peneus, Phasis, Xanthus, humble Ladon, 
Nor Shee whose Nymphes excell her who lou'd Adon^ 
Faire Tamesis, nor Ister large, nor Rheine, 
Euphrates, Tigris, Indus, Hermus, Gange, 
10 Pearlie Hydaspes, Serpent-like Meander, 
The Golfe bereft sweet Hero her Leander, 
Nile that farre farre his hidden Head doth range, 
Haue euer had so rare a Cause of Praise, 
As Or a, where this Nor theme Phenix stayes. 

Son. [xv] 

T^O heare my Plaints faire Riuer Christalline 
Thou in a silent Slumber seemes to stay, 
Delicious Flowrs, Lillie and Columbine, 
Yee bowe your Heades when I my Woes display. 
5 Forrests, in you the Mirtle, Palme, and Bay, 
Haue had compassion listning to my Grones, 
The Winds with Sighes haue solemniz'd my Mones 
Mong Leaues, which whisper'd what they could not say. 
The Caues, the Rockes, the Hills the Syluans Thrones 
10 (As if euen Pitie did in them appeare) 

Haue at my Sorrowes rent their ruethlesse Stones, 
Each thing I finde hath sense except my Deare 
Who doth not thinke I loue, or will not know 
My Grief e, perchance delighting in my Woe. 

XIV. 7 DNO. excell her loued Adon " NO. The Floud which 
robbed Hero of Leander 

XV. " DNO. sorrow 


Son. [xvi] 

SWeet Brooke, in whose cleare Christall I mine Eyes 
Haue oft seene great in Labour of their Teares, 
Enamell'd Banke, whose shining Grauell beares 
These sad Characters of my Miseries. 
5 High Woods, whose mounting Tops menace the Spheares, 
Wild Citizens, Amphions of the Trees, 
You gloomie Groues at hottest Noones which freeze, 
Elysian Shades which Phebus neuer cleares, 
Vaste solitarie Mountaines, pleasant Plaines, 
10 Embrodred Meads that Ocean-way es you reach, 

Hills, Dales, Springs, all that my sad Cry constraines 
To take part of my Plaints, and learne Woes Speach, 
Will that remorselesse Faire e're Pitie show, 
Of Grace now answere if yee ought know ? No. 

Son. [xvii] 

With flaming Homes the Bull now brings the Yeare, 
Melt doe the horride Mountaines Helmes of Snow, 
The siluer Flouds in pearlie Channells flow, 
The late-bare Woods greene Anadeams doe weare. 
5 The Nightingall forgetting Winters Woe, 
Calls vp the lazie Morne her Notes to heare, 
Those Flowrs are spred which Names of Princes heare, 
Some red, some azure, white, and golden grow. 
Here lowes a Heifer, there fo^-wailing strayes 
10 A harmelesse Lambe, not farre a Stag rebounds, 

The Sheepe-heards sing to grazing Flockes sweet Layes, 
And all about the Ecchoing Aire resounds. 

Hills, Dales, Woods, Flouds, & euery thing doth change, 
But Shee in Rigour, I in Loue am strange. 

XVI. x DNO. my eyes " NO. all whom 

XVII. 2 D. Melt do the Mountains hideous heaulmes of Snow 
NO. Melt do the Mountains routing flouds of Snow 3 N. in smooth 
Channels O. The silver Rivers in smooth Channels 7 DNO. Spread 
are those Flowres 9 N. be-wailing u NO. The Shepheards 


Son. [xviii] 

WHen Nature now had wonderfully wrought 
All Avristellas Parts, except her Eyes, 
To make those Twinnes two Lamps in Beauties Skies, 
Shee Counsell of her starrie Senate sought. 
Mars and Apollo first did Her aduise 
In Colour Blacke to wrappe those Comets bright, 
That Loue him so might soberly disguise, 
And vnperceiued Wound at euery Sight. 
Chaste Phebe spake for purest azure Dyes, 
But Iove and Venvs greene about the Light 
To frame thought best, as bringing most Delight, 
That to pin'd Hearts Hope might for ay arise : 

Nature (all said) a Paradise of Greene 

There plac'd, to make all loue which haue them seene. 

Mad. [ii] 

TO the deligktfull Greene 
Of you faire radiant Eine, 
Let each Blacke yeeld beneath the starrie Arche. 
Eyes, burnisht Heauens of Loue, 
5 Sinople Lampes of loue, 
Saue that those Hearts which with your Flames yee parche 
Two burning Sunnes you proue, 
All other Eyes compared with you (deare Lights) 
Bee Hells, or if not Hells yet dumpish Nights. 
10 The Heauens (if we their Glasse 

The Sea beleeue) bee greene, not perfect blew. 
They all make faire what euer faire yet was, 
And they bee faire because they looke like you. 

XVIII. 6 DNO. To wrappe in Colour Blacke 

II. 2 O. Of your 6 NO. Save all those hearts 9 NO. Are Hells 
11 NO. are green D. perfite 18 NO. are faire 


Son. [xix] 

IN vaine I haunt the colde and siluer Springs, 
To quench the Feuer burning in my Vaines, 
In vaine (Loues Pilgrime) Mountaines, Dales, and Plaines, 
I ouer-runne, vaine Helpe long Absence brings. 
5 In vaine (my Friends) your Counsell me constraines 
To flie, and place my Thoughts on other Things, 
Ah! like the Bird that fired hath her Wings, 
The more I moue, the greater are my Paines. 
Desire (alas) Desire a Zeuxis new, 
10 From Indies borrowing Gold, from W ester ne Skies 
Most bright Cynoper, sets before mine Eyes 
In euery Place, her Haire, sweet Looke and Hew : 
That flie, runne, rest I, all doth proue but vaine, 
My Life lies in those Lookes which haue me slaine. 

Son. [xx] 

A LI other Beauties how so e're they shine 
In Haires more bright than is the golden Ore, 
Or Cheekes more faire than fairest Eglantine, 
Or Hands like Hers who comes the Sunne before : 
5 Match'd with that Heauenly Hue, and Shape diuine, 
With those deare Starres which my weake Thoughts adore, 
Looke but like Shaddowes, or if they bee more, 
It is in that that they are like to thine. 
Who sees those Eyes, their Force and doth not proue, 
10 Who gazeth on the Dimple of that Chinne, 
And findes not Venus Sonne entrench'd therein, 
Or hath not Sense, or knowes not what is Loue. 
To see thee had Narcissus had the Grace, 
Hee sure had died with wondring on thy Face. 

XIX. 10 DNO. From th' Orient u DNO. Heauenly Cinabre 
O. my Eyes. 

XX. 2 D. then is 3 D. then fairest 4 O. that comes 7 DNO. 
Looke but as 8 NO. It is in this B NO. that doth 14 DNO. He 
would haue died 


Son. [xxi] 

MY Teares may well Numidian Lions tame, 
And Pitie breede into the hardest Hart 
That euer Pirrha did to Maide impart, 
When Shee them first of blushing Rockes did frame. 
5 Ah Eyes which only serue to waile my Smart, 
How long will you mine inward Woes proclaime ? 
Let it suffice you beare a weeping Part 
All Night, at Day though yee doe not the same : 
Cease idle Sighes to spend your Stormes in vaine, 
10 And these calme secret Shades more to molest, 
Containe you in the Prison of my Brest, 
You not doe ease but aggrauate my Paine, 

Or (if burst foorth you must ?) that Tempest moue 
In Sight of Her whome I so dearely loue. 

Son. [xxii] 

NYmphes, Sister Nymphes which haunt this christall 
And (happie) in these Floting Bowrs abide, 
Where trembling Roofes of Trees from Sunne you hide, 
Which make Ideall Woods in euery Crooke, 
5 Whether yee Garlands for your Lockes prouide, 
Or pearlie Letters seeke in sandie Booke, 
Or count your Loues when Thetis was a Bride ? 
Lift vp your golden Heads and on mee looke. 
Read in mine Eyes mine agonizing Cares, 
io And what yee read recount to Her againe : 

Faire Nymphes, say all these Streames are but my Teares, 
And if Shee aske you how they sweet remaine, 

Tell that the bittrest Teares which Eyes can powre, 
When shed for Her doe cease more to be sowre. 

XXI. 6 DNO. my inward Woes 7 DNO. May 't not suffice 
8 DNO. at Day but you must doe the same 10 D. And these sweet 
silent Groues for to m olest NO. And these sweet silent thickets to 
molest 12 DNO. You doe not ease 

XXII. 4 D. Which makes NO. Idczan woods 9 DNO. my agoniz- 
ing Cares 14 NO. can be no longer sowre 


Mad. [iii] 

Like the Idalian Queene 
Her Haire about her Eyne, 
With Necke and Brests ripe Apples to be seene, 
At first Glance of the Morne 
5 In Cyprus Gardens gathering those faire Flowrs 
Which of her Blond were borne, 
I saw, but fainting saw, my Paramours. 
The Graces naked danc'd about the Place, 
The Winds and Trees amaz'd 
10 With Silence on Her gaz'd, 

The Flowrs did smile, like those vpon her Face, 
And as their A spine Stalkes those Fingers band, 
(That Shee might read my Case) 
A Hyacinth I wisht mee in her Hand, 

Son. [xxiii] 

THen is Shee gone ? O Foole and Coward I ! 
O good Occasion lost, ne're to bee found ! 
What fatall Chaines haue my dull Senses bound 
When best they may that they not Fortune trie ? 
5 Here is the flowrie Bed where Shee did lie, 
With Roses here Shee stellified the Ground, 
Shee fix'd her Eyes on this (yet smyling) Pond, 
Nor Time, nor courteous Place seem'd ought denie. 
Too long, too long (Respect) I doe embrace 
10 Your Counsell, full of Threats and sharpe Disdaine ; 
Disdaine in her sweet Heart can haue no Place, 
And though come there, must straight retire againe : 
Hencefoorth Respect farewell, I oft heare tolde 
Who Hues in Loue can neuer bee too bolde. 

III. 3 NO. on brests u D. The flowres seemde smyle 12 NO. 
bind 14 DNO. / wish'd to be a Hyacinth 

XXIII. 4 D. that they ne're Fortune trie NO. When best they 
might, did not Fortune try 5 DNO. Here is the fainting Grasse 
where 8 DNO. Nor Time, nor Place seemde ought for to denie 
* 8 NO. I've heard it told 


Son. [xxiv] 

IN Minds pure Glasse when I my selfe behold, 
And viuely see how my best Dayes are spent, 
What Clouds of Care aboue my Head are roll'd, 
What comming Harmes, which I can not preuent : 
5 My begunne Course I (wearied) doe repent, 
And would embrace what Reason oft hath told, 
But scarce thus thinke I, when Loue hath controld 
All the best Reasons Reason could inuent. 
Though sure I know my Labours End is Griefe, 
10 The more I striue that I the more shall pine, 
That only Death can be my last Reliefe : 
Yet when I thinke vpon that Face diuine, 
Like one with Arrow shot in Laughters Place, 
Malgre my Heart I ioye in my Disgrace. 

Son. [xxv] 

DEare Quirister, who from those Shaddowes sends 
(Ere that the blushing Dawne dare show her Light) 
Such sad lamenting Straines, that Night attends 
Become all Eare, Starves stay to heare thy Plight. 
5 If one whose Griefe euen Reach of Thought transcends, 
Who ne're (not in a Dreame) did taste Delight, 
May thee importune who like Case pretends, 
And seemes to ioy in Woe, in Woes Despight ? 
Tell me (so may thou Fortune milder trie, 
io And long long sing) for what thou thus complaines ? 
Sith (Winter gone) the Sunne in dapled Skie 
Now smiles on Meadowes, Mountaines, Woods and Plaines : 
The Bird, as if my questions did her moue, 
With trembling Wings sobb'd foorth I loue, I loue. 

XXIV. 2 D. And vively sees NO. And lively see 4 D. What 
comming euils NO. What comming ill 6 O. My Course begun 
11 DNO. shall be my last reliefe 14 NO. Maugre 

XXV. 2 NO. blushing Morne « DNO. Sith [NO. Since] Winter's 
gone, and Sune 12 DNO. Enamour'd smiles on Woods and flowrie 
Plaines 14 NO. sigh'd forth 


Son. [xxvi] 

TRust not sweet Soule those curled Wanes of Gold 
With gentle Tides which on your Temples flow, 
Nor Temples spread with Flackes of Virgine Snow, 
Nor Snow of Cheekes with Tyrian Graine enrolTd. 
5 Trust not those shining Lights which wrought my Woe, 
When first I did their burning Rayes beholde, 
Nor Voyce, whose Sounds more strange Effects doe show 
Than of the Thracian Harper haue beene tolde : 
Looke to this dying Lillie, fading Rose, 
10 Darke Hyacinthe, of late whose blushing Beames 
Made all the neighbouring Herbes and Grasse reioyce, 
And thinke how litle is twixt Lifes Extreames : 
The cruell Tyrant that did kill those Flowrs, 
Shall once {aye mee) not spare that Spring of yours. 

Son. [xxvii] 

THat I so slenderly set foorth my Minde, 
Writing I wote not what in ragged Rimes, 
And charg'd with Brasse into these golden Times 
When others towre so high am left behinde : 
5 I craue not Phebvs leaue his sacred Cell 
To binde my Browes with fresh Aonian Bayes, 
Let them haue that who tuning sweetest Layes 
By Tempe sit, or Aganippe Well, 
Nor yet to Venus Tree doe I aspire, 
10 Sith Shee for whome I might affect that Praise, 
My best Attempts with cruell Words gainsayes, 
And I seeke not that Others me admire. 

Of weeping Myrrhe the Crowne is which I craue, 
With a sad Cypresse to adorne my Graue. 

XXVI. 2 O. Tides that 6 DNO. azure Rayes 8 D. Then of 

XXVII. 3 NO. Orecharg'd with brasse in these so golden Times 
7 DNO. But leaues't [NO. leave't] to those who 8 NO. Aganippes 
10 O. Since 


Son. [xxviii] 

SOund hoarse sad Lute, true Witnesse of my Woe, 
And striue no more to ease selfe-chosen Paine 
With Soule-enchanting Sounds, your Accents straine 
Vnto these Teares vncessantly which flow. 
5 Shrill Treeble weepe, and you dull Basses show 
Your Masters Sorrow in a deadly Vaine, 
Let neuer ioyfull Hand vpon you goe, 
Nor Consort keepe but when you doe complaine. 
Flie Phoebus Rayes, nay, hate the irkesome Light, 
10 Woods solitarie Shades for thee are best, 
Or the blacke Horrours of the blackest Night, 
When all the World (saue Thou and I) doth rest : 
Then sound sad Lute, and beare a mourning Part, 
Thou Hell may'st mooue, though not a Womans Heart. 

Son. [xxix] 

YOu restlesse Seas, appease your roaring Waues, 
And you who raise nudge Mountaines in that Plaine 
Aires Trumpeters, your blustring Stormes restraine, 
And listen to the Plaints my Griefe doth cause. 
5 Eternall Lights, though adamantine Lawes 
Of Destinies to mooue still you ordaine, 
Turne hitherward your Eyes, your Axetree pause, 
And wonder at the Torments I sustaine. 
Earth (if thou bee not dull'd by my Disgrace, 
io And senselesse made ?) now aske those Powers aboue 
Why they so crost a Wretch brought on thy Face ? 
Fram'd for Mis-hap, th' Anachorite of Loue, 
And bid them if they would moe ^Etnas burne, 
In Rhodopee or Erimanthe mee turne. 

XXVIII. 4 DNO. incessantlie 5 DNO. Sad Treeble 6 NO. in 
a dolefull straine 9 NO. Flie Phoebus Raies, abhor the irkesome Light 
12 NO. do rest 14 NO. canst move 

XXIX. 3 DNO. your hideous Sounds containe 7 DNO. Turne 
hither all your Eyes, your Axeltre [NO. Axele] pause 9 DNO. Sad 
Earth, if thou made dull by my Disgrace 10 DNO. Be not, and 
[NO. as] senselesse, aske those Powers aboue 13 NO. And bid them 
(that no more Etnaes may burne) 14 D. Rhodope NO. To Erimanth' 
or Rhodope 


Son. [xxx] 

WHat cruell Starve into this World mee brought ? 
What gloomie Day did dawne to giue mee Light ? 
What vnkinde Hand to nourse mee (Orphane) sought, 
And would not leaue mee in eternall Night ? 
5 What thing so deare as I hath Essence bought ? 
The Elements, drie, humid, heauie, light, 
The smallest liuing things by Nature wrought, 
Bee freed of Woe if they haue small Delight. 
Ah only I, abandon'd to Despair e, 
10 Nail'd to my Torments, in pale Honours Shade, 
Like wandring Clouds see all my Comforts fled, 
And Euill on Euill with Hours my Life impaire : 
The Heauen and Fortune which were wont to turne, 
Fixt in one Mansion staye to cause mee mourne. 

Son. [xxxi] 

DEare Eye which daign'st on this sad Monument 
The sable Scroule of my Mis-haps to view, 
Though with the mourning Muses Teares besprent, 
And darkly drawne, which is not fain'd, but true, 
5 If thou not dazelTd with a Heauenly Hue, 
And comely Feature, didst not yet lament ? 
But happie liu'st vnto thy selfe content, 
O let not Loue thee to his Lawes subdue. 
Looke on the wofull Shipwracke of my Youth, 
10 And let my Ruines for a Phare thee serue 
To shunne this Rocke Capharean of Vntrueth, 
And serue no God who doth his Church-men sterue : 
His Kingdome is but Plaints, his Guerdon Teares, 
What hee giues more are Iealousies and Feares. 

XXX. 7 DNO. which Nature wrought u D. sees 12 NO. And 
111 on 111 13 DNO. The Heauens 14 DNO. Staye in one Mansion 

XXXI. 3 NO. Though it with mourning Muses be spent 7 DNO. 
liues 10 NO. ruines thee for Beacon serve 12 DNO. which doth 
O. starve 13 DNO. His Kingdome's but of plaints 14 DNO. more is 


Son. [xxxii] 

IF crost with all Mis-haps bee my poore Life, 
If one short Day I neuer spent in Mirth, 
If my Spright with it selfe holds lasting Strife, 
If Sorrowes Death is but new Sorrowes Birth ? 
5 If this vaine World bee but a sable Stage 
Where slaue-borne Man playes to the scoffing Starres, 
If Youth bee toss'd with Loue, with Weaknesse Age, 
If Knowledge serue to holde our Thoughts in Warres ? 
If Time can close the hundreth Mouths of Fame, 
10 And make what long since past, like that to bee, 
If Vertue only bee an idle Name, 
If I when I was borne was borne to die ? 
Why seeke I to prolong these loathsome Dayes, 
The fairest Rose in shortest time decayes ? 

Son. [xxxiii] 

LEt Fortune triumph now, and Id sing, 
Sith I must fall beneath this Load of Care, 
Let Her what most I prize of eu'rie Thing 
Now wicked Trophees in her Temple reare. 
5 Shee who high Palmie Empires doth not spare, 
And tramples in the Dust the prowdest King, 
Let Her vaunt how my Blisse Shee did impaire, 
To what low Ebbe Shee now my Flow doth bring. 
Let Her count how (a new Ixion) Mee 
10 Shee in her Wheele did turne, how high nor low 
I neuer stood, but more to tortur'd bee : 
Weepe Soule, weepe plaintfull Soule, thy Sorrowes know, 
Weepe, of thy Teares till a blacke Riuer swell, 
Which may Cocytus be to this thy Hell. 

XXXII. 6 DNO. mournefull Stage 6 DNO. laughing Starres 
8 DNO. serues 9 NO. hundred 10 DNO. And make what's long since 
past, like that's to be 12 NO. If being borne I was but borne to 

XXXIII. This sonnet is wanting in D and N. 
7 O. Bless 


Son. [xxxiv] 

OCruell Beautie, Meekenesse inhumaine, 
That Night and day contend with my Desire, 
And seeke my Hope to kill, not quench my Fire, 
By Death, not Baulme to ease my pleasant Paine. 
5 Though yee my Thoughts tread downe which would 
And bound my Blisse, doe not (alas) disdaine 
That I your matchlesse Worth and Grace admire, 
And for their Cause these Torments sharpe sustaine. 
Let great Empedocles vaunt of his Death 
10 Found in the midst of those Sicylian Flames, 
And PhaUon that Heauen him reft of Breath, 
And Dczdals Sonne He nam'd the Samian Streames : 
Their Haps I enuie not, my Praise shall bee, 
The fairest Shee that liu'd gaue Death to mee. 

Son. [xxxv] 

THe Hyperborean Hills, Ceraunus Snow, 
Or Arimaspus (cruell) first thee bred, 
The Caspian Tigers with their Milke thee fed, 
And Faunes did humane Bloud on thee bestow. 
5 Fierce Orithyas Louer in thy Bed 
Thee lull'd asleepe, where he enrag'd doth blow, 
Thou didst not drinke the Flouds which here doe flow, 
But Teares, or those by ycie Tanais Hed. 
Sith thou disdaines my Loue, neglects my Griefe, 
10 Laughs at my Grones, and still affects my Death, 
Of thee, nor Heauen I'll seeke no more Reliefe, 
Nor longer entertaine this loathsome Breath, 

But yeeld vnto my Starr e, that thou mayst proue, 
What Losse thou hadst in losing such a Loue. 

XXXIV. * DNO. sweetnesse inhumane 2 DNO. contends 
3 DNO. seekes 12 NO. who nam'd. 13 DNO Their haps I not 
enuie u D. The fairest She that Hues did cause me die NO. That 
the most faire that lives mov'd me to dye 

XXXV. 9 O. Since 13 NO. Stars 


Song, [ii] 

PHoebus arise, 
And paint the sable Skies 

With azure, white, and Red : 

Rowse Memnons Mother from her Tythons Bed, 
5 That Shee thy Cariere may with Roses spred, 

The Nightingalles thy Comming each where sing, 

Make an eternall Spring, 

Giue Life to this darke World which lieth dead. 

Spreade foorth thy golden Haire 
10 In larger Lockes than thou wast wont before, 

And Emperour-like decor e 

With Diademe of Pearle thy Temples faire : 

Chase hence the vglie Night 

Which serues but to make deare thy glorious Light. 
15 This is that happie Morne, 

That Day long wished Day, 

Of all my Life so darke, 

{If cruell Starres haue not my Ruine sworne, 

And Fates not Hope betray ?) 
2» Which [only white) deserues 

A Diamond for euer should it marke : 

This is the Morne should bring vnto this Groue 

My Loue, to heare, and recompense my loue. 

Faire King who all preserues, 
25 But show thy blushing Beames, 

And thou two sweeter Eyes 

Shalt see than those which by Peneus Streames 

Did once thy Heart surprise : 

Nay, Sunnes, which shine as cleare 
30 A s thou when two thou did to Rome appear e. 

Now Flora decke thy selfe in fairest Guise, 

If that yee, Winds, would heare 

A Voyce surpassing farre Amphions Lyre, 

II. 4 Some copies of F, (as, for example, the Edinburgh University 
copy) have the misprint Memmon 10 D. then thou was wont 19 DNO. 
my hopes betraye 20 NO. {purely white) 21 DNO. An euerlasting 
Diamond 27 DN. Shall see then those 30 NO. thou did'st 


Your stormie chiding stay, 
35 Let Zephyre only breath. 

And with her Tresses play, 

Kissing sometimes these purple Ports of Death. 

The Windes all silent are, 

And Phoebus in his Chair e 
40 Ensaffroning Sea and Aire, 

Makes vanish euery Starre : 

Night like a Drunkard reeles 

Beyond the Hills to shunne his flaming Wheeles. 

The Fields with Flowrs are deckt in euery Hue, 
45 The Clouds bespangle with bright Gold their Blew : 

Here is the pleasant Place 

And eu'ry thing, saue Her, who all should grace. 

Son. [xxxvi] 

WHo hath not seene into her saffron Bed 
The Mornings Goddesse mildly Her repose, 
Or Her of whose pure Bloud first sprang the Rose, 
Lull'd in a Slumber by a Mirtle Shade. 
5 Who hath not seene that sleeping White and Red 
Makes Phoebe looke so pale, which Shee did close 
In that Ionian Hill, to ease her Woes, 
Which only Hues by Nectare Kisses fed : 
Come but and see my Ladie sweetly sleepe, 
10 The sighing Rubies of those heauenly Lips, 
The Cupids which Brests golden Apples keepe, 
Those Eyes which shine in midst of their Ecclipse, 
And Hee them all shall see (perhaps) and proue 
Shee waking but pers wades, now forceth Loue. 

34 DNO. furious chyding 37 DNO. those purple ports 45 D. The 
clowds spangle with bright Orient Gold their blew NO. The Clouds with 
Orient Gold spangle their blew 47 DNO. And nothing wanting is saue 
Shee alace 

XXXVI. 8 DNO. by her deare kisses fed 


Son. [xxxvii] 

OF Cither eas Birds that milke-white paire 
On yonder leauie Mirtle Tree which grone, 
And waken with their kisses in the Aire 
Enamour'd Zephyres murmuring one by one, 
5 If thou but Sense hadst like Pigmalions Stone ? 
Or hadst not seene Medusas snakie haire, 
Loues Lessons thou mightst learne ? and learne sweete 

To Summers Heat ere that thy Spring bee growne. 
And if those kissing Louers seeme but Cold, 
10 Looke how that Elme this Iuie doth embrace, 
And bindes, and claspes with many a wanton Fold, 
And courting Sleepe o'reshadowes all the Place : 
Nay seemes to say, deare Tree we shall not parte, 
In Signe whereof loe in each Leafe a Heart. 

Son. [xxxviii] 

THe Sunne is faire when hee with crimson Crowne, 
And naming Rubies leaues his Easterne Bed, 
Faire is Thaumantias in her christall Gowne 
When Clouds engemm'd hang azure, greene, and Red. 
5 To Westerne Worlds when wearied Day goes downe, 
And from Heauens Windowes each Starr e showes her Hed, 
Earths silent Daughter Night is faire, though browne, 
Faire is the Moone though in Loues Liuerie cled. 
Faire Chloris is when Shee doth paint Aprile, 
io Faire are the Meads, the Woods, the Flouds are faire, 
Faire looketh Ceres with her yellow Haire, 
And Apples Queene when Rose-cheekt Shee doth smile. 
That Heauen, and Earth, and Seas are faire is true, 
Yet true that all not please so much as you. 

XXXVII. » NO. See Cithereas Birds * DNO. TV enamour'd 
Zephires u O. clasp 

XXXVIII. * NO. shew azure 9 DNO. The Spring is faire when 
it doth paint Aprile 


Mad. [iv] 

WHen as shee smiles I finde 
More light before mine Eyes, 
Nor when the Sunne from Inde 
Brings to our World a flowrie Paradise : 
5 But when shee gently weepes, 
And powres foorth pearlie Showres, 
On Cheekes faire blushing Flowres, 
A sweet Melancholie my Senses keepes. 
Both feede so my Disease, 
10 So much both doe me please, 

That oft I doubt, which more my Heart doth burne, 
Like Loue to see her smile, or Pitie mourne. 

Son. [xxxix] 

Slide soft faire Forth, and make a christall Plaine, 
Cut your white Lockes, and on your foamie Face 
Let not a Wrinckle bee, when you embrace 
The Boat that Earths Perfections doth containe. 
5 Windes wonder, and through wondring holde your Peace, 
Or if that yee your Hearts cannot restraine 
From sending Sighes, mou'd by a Louers Case, 
Sigh, and in her faire Haire your selues enchaine : 7 
Or take these Sighes which Absence makes arise J 
10 From mine oppressed Brest and waue the Sailes, 
Or some sweet Breath new brought from Paradise : 
Flouds seeme to smile, Loue o're the Winds preueails, 
And yet hudge Waues arise, the Cause is this, 
The Ocean striues with Forth the Boate to kisse. 

IV. 3 NO. Than when 12 NO. Love to behold her smile 

XXXIX. 5 DN. pace 7 DNO. fealing a Louers Case 10 DNO. 

From my oppresed brest, and fill the sailes [O. and the Sails fill] 13 D. 

The Flood seemes smile NO. The flouds do smile 


Son. [xl] 

yjB. I who can see those Fruites of Paradise, 
^1 Celestiall Cherries which so sweetly swell 
That Sweetnesse selfe confinde there seemes to dwell, 
And all those sweetest Parts about despise ? 
5 Ah ! who can see and feele no Flame surprise 
His hardened Heart ? for mee (alas) too well 
I know their Force, and how they doe excell, 
Now burne I through Desire, now doe I freeze : 
I die (deare life) vnlesse to mee bee giuen 
10 As many Kisses as the Spring hath Flowrs, 
Or as the siluer Drops of Iris Showrs, 
Or as the Starres in all-embracing Heauen, 
And if displeas'd yee of the Match complaine, 
Yee shall haue leaue to take them backe againe. 

Son. [xli] 

IS't not enough (aye mee) mee thus to see 
Like some Heauen-banish'd Ghost still wailing goe ? 
A Shadow which your Rayes doe only show, 
To vexe mee more, vnlesse yee bid mee die ? 
5 What could yee worse allotte vnto your Foe ? 
But die will I, so yee will not denie 
That Grace to mee which mortall Foes euen trie, 
To chuse what sort of Death should ende my Woe. 
One Time I found when as yee did mee kisse, 
io Yee gaue my panting Soule so sweet a Touch, 
That halfe I sown'd in midst of all my Blisse, 
I doe but craue my Deaths Wound may bee such : 
For though by Griefe I die not and Annoy, 
Is't not enough to die through too much Ioy ? 

XL. 8 NO. Now through desire I burne, and now I freeze u NO. 
Or there be silver drops in Iris Show'rs 12 D. Or as their Starres 
NO. Or stars there be 

XLI. 4 O. you bid 8 NO. shall end 9 D. while as NO. Once 
did I find that whiles you did me kisse n O. I swoon'd 


Mad. [v] 

SWeete Rose whence is this Hue 
Which doth all Hues excell ? 
Whence this most fragrant Smell ? 
And whence this Forme and gracing Grace in you ? 
5 In flowrie Paestums Field (perhaps) yee grew, 
Or Hyblas Hills you bred, 
Or odoriferous Ennas Plaines you fed, 
Or Tmolus, or where Bore yong Adon slew, 
Or hath the Queene of Loue you dy'd of new 
10 In that deare Bloud, which makes you looke so red ? 
No, none of those, but Cause more high you blist, 
My Ladies Brest you bare, and Lips you kist. 

Son. [xlii] 

SHee whose faire flowrs no Autumne makes decay, 
Whose Hue celestiall, earthly Hues doth staine, 
Into a pleasant odoriferous Plaine 
Did walke alone, to braue the Pride of Maye : 
5 And whilst through chekred Lists shee made her Way, 
Which smil'd about her Sight to entertaine, 
Loe (vnawares) where Loue did hid remaine 
Shee spide, and sought to make of him her Prey : 
For which of golden Lockes a fairest Haire 
10 (To binde the Boy) shee tooke, But hee afraid 
At her Approach sprang swiftly in the Aire, 
And mounting farre from Reach look'd backe and said, 
Why shouldst thou (Sweet) me seeke in Chaines to binde, 
Sith in thine Eyes I dayly am confinde. 

V. 2 O. does 5 DN. In faire Paestanas fields O. Fields perhaps 
you grew 12 D. you bore NO. you bore, her Lips 

XLII. 5 DNO. flowrie Lists 6 NO. That proudly smil'd her sight 
to entertaine 14 DNO. thy eyes 


Mad. [vi] 

ON this colde World of Ours, 
Flowre of the Seasons, Season of the Flowrs, 
Sonne of the Sunne sweet Spring, 
Such hote and burning Dayes why doest thou bring P 
5 Is this for that those high Etemall Pow'rs 
Flash downe that Fire this All enuironing ? 
Or that now Phoebus keepes his Sisters Spheare ? 
Or doth some Phae'ton 
Enflame the Sea and Aire ? 
10 Or rather is it (Vsher of the Yeare) 

For that last Day amongst thy Flowrs alone 
Vnmask'd thou saw'st my Faire ? 
And whilst thou on her gaz'd shee did thee burne, 
And in thy Brother Summer doth thee tume. 

Son. [xliii] 

DEare Wood, and you sweet solitarie Place, 
Where from the vulgar e I estranged liue, 
Contented more with what your Shades mee giue, 
Than if I had what Thetis doth embrace : 
5 What snakie Eye growne iealous of my Peace, 
Now from your silent Horrours would mee driue ? 
When Sunne progressing in his glorious Race 
Beyond the Twinnes, doth neare our Pole arriue. 
What sweet Delight a quiet Life affords, 
io And what it is to bee of Bondage free, 

Farre from the madding Worldlings hoarse Discords, 
Sweet flowrie Place I first did learne of thee : 
Ah ! if I were mine owne, your deare Resorts 
I would not change with Princes stately Courts. 

VI. ■ NO. Is it because 6 NO. this World environing 10 DNO. 
is't not u NO. Or that last day among the Flow'rs alone 12 D. thou 
saw 14 NO. And to thy brother 

XLIII. 2 DNO. Where I estranged from the vulgar 4 D. Then 
if I had all Thetis 5 D. pace 7 NO. advancing 10 NO. from 
bondage 14 N. stateliest O. stateli'st 


Sextain, [ii] 

SIth gone is my Delight and only Pleasure, 
The last of all my Hopes, the chearfull Sunne 
That clear d my Lifes darke Day, Natures sweet Treasure, 
More deare to mee than all beneath the Moone, 
5 What resteth now, but that vpon this Mountaine 

I weepe, till Heauen transforme mee in a Fountaine ? 

Fresh, /aire, delicious, christall, pearlie Fountaine, 
On whose smoothe Face to looke shee oft tooke Pleasure, 
Tell mee (so may thy Streames long cheare this Mountaine, 
10 So Serpent neWe thee staine, nor scorch the Sunne, 
So may with gentle Beames thee kisse the Moone) 
Doest thou not mourne to want so faire a Treasure ? 

While shee her glass' 'd in thee, rich Tagvs Treasure 
Thou enuie needed not, nor yet the Fountaine 
15 In which that Hunter saw the naked Moone, 

Absence hath robb'd thee of thy Wealth and Pleasure, 

And I remaine like Marigold of Sunne 

Depriu'd, that dies by Shadow of some Mountaine. 

Nymphes of the Forrests, Nymphes who on this Mountaine 
20 Are wont to dance, shewing your Beauties Treasure 
To Goate-feete Syluans, and the wondring Sunne, 
When as you gather Flowres about this Fountaine, 
Bid Her Farewell who placed here her Pleasure, 
And sing her Praises to the Starr es and Moone. 

25 Among the lesser Lights as is the Moone, 

Blushing through Scarf e of Clouds on Latmos Mountaine, 

II. 3 DNO. lifes darke Spheare 4 D. then all 6 NO. to a Fountaine 

II DNO. watrie beames 13 NO. While she here gaz'd on thee, rich 
Tagus Treasure 14 DNO. Thou needed [NO. neededst] not enuy 26 NO. 
Blushing through muffling clouds 


Or when her siluer Lockes shee lookes for Pleasure 
In Thetis Streames, prowde of so gay a Treasure, 
Such was my Faire when Shee sate by this Fountaine 
30 With other Nymphes, to shunne the amorous Sunne. 

As is our Earth in Absence of the Sunne, 
Or when of Sunne depriued is the Moone, 
As is without a verdant Shade a Fountaine, 
Or wanting Grasse, a Mead, a Vale, a Mountaine, 
35 Such is my State, bereft of my deare Treasure, 
To know whose only Worth was all my Pleasure. 

Ne're thinke of Pleasure Heart, Eyes shunne the Sunne, 
Teares be your Treasure, which the wandring Moone 
Shall see you shed by Mountaine, Vale, and Fountaine. 

Son. [xliv] 

THou Window, once which serued for a Spheare 
To that deare Planet of my Heart, whose Light 
Made often blush the glorious Queene of Night, 
While Shee in thee more beautious did appeare, 
5 What mourning Weedes (alas) now do'st thou weare ? 
How loathsome to mine Eyes is thy sad Sight ? 
How poorely look'st thou, with what heauie cheare, 
Since that Sunne set, which made thee shine so bright ? 
Vnhappie now thee close, for as of late 
10 To wondring Eyes thou wast a Paradise, 
Bereft of Her who made thee fortunate, 
A Gulfe thou art, whence Cloudes of Sighes arise : 
But vnto none so noysome as to mee, 
Who hourly see my murth'red Ioyes in thee. 

27 NO. Or when she views her silver Lochs for Pleasure 
XLIV. x DNO. Window sometime which 5 NO. dost thou now 
weare e DNO. my eyes 7 DO. lookes thou 8 DNO. Since sets 
[O. set's] that Sunne 10 D. thou was NO. thou wert 14 DN. 
sees O. sees my murdered 


Son. [xlv] 

A Re these the flowrie Bankes ? is this the Mead 
Where Shee was wont to passe the pleasant hours ? 
Did here her Eyes exhale mine Eyes salt Showrs, 
When on her Lap I laide my wearie Head ? 
5 Is this the goodly Elme did vs o'respread, 
Whose tender Rine cut out in curious Flowrs 
By that white Hand, containes those Flames of Ours ? 
Is this the rusling Spring vs Musicke made ? 
Deflourish'd Mead where is your heauenly Hue ? 
10 Banke, where that Arras did you late adorne, 
How looke yee Elme all withered and forlorne ? 
Onely sweet Spring nought altered seemes in you : 
But while here chang'd each other thing appeares, 
To sowre your Streames take of mine Eyes these Teares. 

Son. [xlvi] 

A Lexis, here shee stay'd among these Pines 
[Sweet Hermitresse) shee did alone repaire, 
Here did shee spreade the Treasure of her Haire, 
More rich than that brought from the Colchian Mines. 
5 Shee set Her by these musket Eglantines, 
The happie Place the Print seemes yet to beare, 
Her Voyce did sweeten here thy sugred Lines, 
To which Winds, Trees, Beasts, Birds did lend their Eare. 
Mee here shee first perceiu'd, and here a Morne 
10 Of bright Carnations did o'respreade her Face, 
Here did shee sigh, here first my Hopes were borne, 
And I first got a Pledge of promis'd Grace : 
But [ah) what seru'd it to bee happie so ? 
Sith passed Pleasures double but new Woe. 

XLV. 3 DNO. Was't here her Eyes exhalld 4 DNO. And on her 
lap did lay 5 D. vs did 6 DN. cut forth O. Rind, cut forth 
7 O. these 8 DNO. murmuring Spring 10 DNO. And Banke, that 
Arras " NO. How look'st thou 14 NO. To salt 

XLVI. 2 DNO. Sweet Hermitresse did [NO. she did] all alone 
[O. alone] repaire 4 D. More rich then 5 NO. Here sate she 
6 DNO. The happie flowres seeme yet the print to beare 8 NO. an 
Eare 8 NO. She here me first perceiv'd 12 NO. Here first I got a 
Pledge 13 DNO. But ah what serues't to haue [NO. to have] beene 
made happie so 


Son. [xlvii] 

O Night, cleare Night, O darke and gloomie Day ! 
O wofull Waking ! O Soule-pleasing Sleepe ! 
O sweet Conceits which in my Braines did creepe ! 
Yet sowre Conceits which went so soone away. 
5 A Sleepe I had more than poore Words can say, 
For clos'd in Armes (mee thought) I did thee keepe, 
A sorie Wretch plung'd in Mis-fortunes deepe 
Am I not wak'd ? when Light doth Lies bewray. 

that that Night had euer still bene blacke ! 
10 O that that Day had neuer yet begunne ! 

And you mine Eyes would yee no time saw Sunne ! 

To haue your Sunne in such a Zodiacke : 
Loe, what is good of Life is but a Dreame, 
When Sorrow is a neuer-ebbing Streame. 

Son. [xlviii] 

HAire, precious Haire which Midas Hand did straine, 
Part of the Wreathe of Gold that crownes those 
Which Winters whitest White in Whitenesse staine, 
And Lillie, by Eridans Banke that growes. 
5 Haire (fatall Present) which first caus'd my Woes, 
When loose yee hang like Danaes golden Raine, 
Sweet Nettes, which sweetly doe all Hearts enchaine, 
Strings, deadly Strings, with which Loue bends his Bowes. 
How are yee hither come ? tell me, O Haire, 
io Deare Armelet, for what thus were yee giuen ? 

1 know a Badge of Bondage I you weare, 
Yet Haire for you, 6 that I were a Heauen ! 

Like Berenices Locke that yee might shine 
(But brighter farre) about this Arme of mine. 

XLVII. This sonnet is wanting in D, and in N. 

5 O. more then 

XLVIII. 4 DNO read " Eridans " F reads " Eridians," but in some 
copies of F (as, for example, in the Aberdeen University copy of F, pre- 
sented by the author himself) the " i " of " Eridians " is erased in ink. 
10 O. were thus 13 NO. Locks 


Mad. [vii] 

VNhappie Light, 
Doe not approach to bring the wofull Day, 
When I must bid for ay 
Farewell to Her, and Hue in endlesse Plight. 
5 Faire Moone, with gentle Beames 
The Sight who neuer marres, 

Long clear e Heauens sable Vault, and you bright Starr es 
Your golden Lockes long glasse in Earths pure Streames, 
Let Phoebus neuer rise 
10 To dimme your watchfull Eyes : 

Prolong {alas) prolong my short Delight, 
And if yee can, make an etemall Night. 

Son. [xlix] 

With Grief e in Heart, and Teares in sowning Eyes, 
When I to Her had giu'n a sad Fare-well, 
Close sealed with a Kisse, and Dew which fell 
On my else-moystned Face from Beauties Skies. 
5 So strange Amazement did my Minde surprise, 
That at each Pace I fainting turn'd againe, 
Like One whome a Torpedo stupifies, 
Not feeling Honours Bit, nor Reasons Raine. 
But when fierce Starres to parte mee did constraine, 
10 With backe-cast Lookes I enui'd both and bless'd 
The happie Walles and Place did Her containe, 
Till that Sights Shafts their flying Obiect miss'd, 
So wailing parted Ganamede the faire, 
When Eagles Talents bare him through the Aire. 

VII. 7 NO. Chare long 8 NO. long view 

XLIX. * DNO. swelling Eyes 10 DNO. I both enui'd and bliss'd 
[NO. bless'd] 12 D. Untill Sights Shafts that flying NO. Untill 
my eyes that flying 14 DNO. bore 


Mad. [viii] 

IFeare not hencefoorth Death, 
Sith after this Departure yet I breath, 
Let Rocks, and Seas, and Wind, 
Their highest Treasons show, 
Let Skie and Earth combinde 
Striue (if they can) to ende my Life and Woe : 
Sith Grief e can not, mee nothing can o' rethrow, 
Or if that ought can cause my fatall Lot, 
It will bee when I heare I am forgot. 

Son. [1] 

HOw many times Nights silent Queene her Face 
Hath hid, how oft with Starres in siluer Maske 
In Heauens great Hall shee hath begunne her Taske, 
And chear'd the waking Eye in lower Place : 
5 How oft the Sunne hath made by Heauens swift Race 
The happie Louer to forsake the Brest 
Of his deare Ladie, wishing in the West 
His golden Coach to runne had larger Space : 
I euer count, and number, since alas 
io I bade Farewell to my Hearts dearest Guest, 
The Miles I compasse, and in Minde I chase 
The Flouds and Mountaines holde mee from my Rest : 
But (woe is mee) long count and count may I, 
Ere I see Her whose Absence makes mee die. 

VIII. This piece is wanting in D, and in N. 

L. 9 DNO. and tell since I alas 10 DNO. Did bidde Farewell 
11 DNO. The Miles I number 


Son. [li] 

SO grieuous is my Paine, so painefull Life, 
That oft I finde mee in the Armes of Death, 
But (Breath halfe gone) that Tyrant called Death 
Who others killes, rest ore th mee to Life : 
5 For while I thinke how Woe shall ende with Life, 
And that I quiet Peace shall ioye by Death, 
That Thought euen doth o'repowre the Paines of Death, 
And call mee home againe to lothed Life : 
Thus doth mine euill transcend both Life and Death, 
10 While no Death is so bad as is my Life, 

Nor no Life such which doth not ende by Death, 
And Protean Changes turne my Death and Life : 
O happie those who in their Birth finde Death, 
Sith but to languish Heauen affordeth Life. 

Son. [lii] 

FAme, who with golden Pennes abroad dost range 
Where Phosbus leaues the Night, and brings the Day, 
Fame, in one Place who (restlesse) dost not stay 
Till thou hast flowne from Atlas vnto Gauge : 
5 Fame, Enemie to Time that still doth change, 
And in his changing Course would make decay 
What here below he fmdeth in his Way, 
Euen making Vertue to her selfe looke strange. 
Daughter of Heauen ; Now all thy Trumpets sound, 
10 Raise vp thy Head vnto the highest Skie, 
With Wonder blaze the Gifts in Her are found, 
And when shee from this mortall Globe shall flie, 

In thy wide Mouth, keepe long long keepe her Name, 
So thou by Her, shee by thee Hue shall Fame. 

LI. This sonnet is wanting in D, and in N. 

LII. * DNO. doth range 2 DNO. or brings 3 O. doth not stay 
7 D. All here below 13 NO. keep long, keep long 


Mad. [ix] 

THe luorie, Corrall, Gold, 
Of Brest, of Lips, of Haire, 
So liuely Sleepe doth show to inward Sight, 
That wake I thinke I hold 
5 No Shadow, but my Faire : 
My selfe so to deceaue 

With long-shut Eyes I shunne the irkesome Light. 
Such Pleasure thus I haue 
Delighting in false Gleames, 
10 // Death Sleepes Brother bee ? 

And Soules relieu'd of Sense haue so sweete Dreames ? 
That I would wish mee thus to dreame and die. 

Son. [liii] 

I Curse the Night, yet doth from Day mee hide, 
The Pandionian Birds I tyre with Mones, 
The Ecchoes euen are weari'd with my Grones, 
Since Absence did mee from my Blisse diuide. 
5 Each Dreame, each Toy, my Reason doth affright, 
And when Remembrance reades the curious Scroule 
Of pass'd Contentments caused by her Sight, 
Then bitter Anguish doth inuade my Soule. 
While thus I liue ecclipsed of her Light 
10 (0 mee I) what better am I than the Mole ? 
Or those whose Zenith is the only Pole, 
Whose Hemispheare is hid with so long Night ? 
Saue that in Earth he rests, they hope for Sunne, 
I pine, and finde mine endlesse Night begunne. 

IX. 8 NO. here I have u NO. And Soules bereft of sense 12 D. 
me so to dreame NO. How could I wish thus still to dreame and dye 
LIII. This sonnet is wanting in D, and in N. 
10 O. then the mole 


Son. [liv] 

OF Death some tell, some of the cruell Paine 
Which that bad Crafts-man in his Worke did trie, 
When (a new Monster) Flames once did constraine 
A humane Corps to yeeld a brutish Crie. 
Some tell of those in burning Beds who lie, 
For that they durst in the Phlegrcean Plaine 
The mightie Rulers of the Skie defie, 
And siege those christall Towres which all containe. 
An other countes of Phlegethons hote Floods 
The Soules which drinke, Ixions endlesse Smart, 
And his to whom a Vulture eates the Heart, 
One telles of Specters in enchanted Woods : 

Of all those Paines he who the worst would proue, 
Let him bee absent, and but pine in Loue. 

Mad. [x] 

TRitons, which bounding diue 
Through Neptunes liquide Plaine, 
When as yee shall arriue 
With tilting Tides where siluer Ora playes, 
And to your King his watrie Tribute payes, 
Tell how I dying Hue, 
And burne in midst of all the coldest Maine. 

LIV. 4 NO. a bellowing Cry 6 DNO. Because they durst 7 NO. 
Ruler u NO. who feedes a Vulture with his heart 13 DNO. Paines 
th' extreamest who would proue 14 DNO. burne in Loue 

X. This piece, is wanting in D, and in N. 


Son. [lv] 

PLace mee where angry Titan burnes the More, 
And thirstie Africke firie Monsters brings, 
Or where the new-borne Phoenix spreades her Wings, 
And Troupes of wondring Birds her Flight adore. 
5 Place mee by Gange, or Indes empampred Shore, 
Where smyling Heauens on Earth cause double Springs, 
Place mee where Neptunes Quire of Syrens sings, 
Or where (made hoarse through Cold) hee leaues to roare. 
Mee place where Fortune doth her Darlings crowne, 
10 A Wonder, or a Sparke in Enuies Eye, 
Or late outragious Fates vpon mee frowne, 
And Pittie wailing see disastred Mee, 

Affections Print my Minde so deepe doth proue, 
I may forget my Selfe, but not my Loue. 

LV. 6 NO. enammell'd shore 9 NO. Place me n NO. Or you 
outragious Fates 12 NO. Till Pitty 

The Second Part 



BY W. D. 


£»i rfMkf>tt$fthm~M 

Sonnet, [i] 

F mortall Glorie 6 soone darkned Raye ! 
O posting Ioyes of Man ! more swift than 

O fond Desires ! which wing'd with Fancies 

O traitrous Hopes ! which doe our Judge- 
ments blinde : 
5 Loe, in a Flash that Light is gone away, 
Which dazell did each Eye, Delight each Minde, 
And with that Sunne (from whence it came) combinde, 
Now makes more radiant Heauens eternall Day. 
Let Beautie now be blubbred Cheekes with Teares, 
10 Let widow' d Musicke only roare, and plaine, 

Poore Vertue get thee Wings, and mount the Spheares, 
And let thine only Name on Earth remaine. 

Death hath thy Temple raz'd, Loues Empire foylde, 
The World of Honour, Worth, and Sweetnesse spoylde. 

I. 2 DNO. O winged Ioyes 3 DNO. which in our fancies straye 
5 D. is went away 9 NO. Let Beauty now bedew her cheeks 10 DNO. 
roare and grone 12 DNO. For dwelling place on Earth for thee is 

VOL. I 51 E 


Son. [ii] 

THose Eyes, those sparkling Saphires of Delight, 
Which thousand thousand Hearts did set on fire, 
Which made that Eye of Heauen that brings the Light 
(Oft jealous) staye amaz'd them to admire. 
5 That liuing Snow, those crimson Roses bright, 
Those Pearles, those Rubies, which did breede Desire, 
Those Lockes of Gold, that Purple faire of Tyre, 
Are wrapt [aye mee !) vp in et email Night. 
What hast thou more to vaunt of, wretched World ? 
10 Sith shee (who cursed thee made blest) is gone ? 
Thine euer-burning Lamps, Rounds euer whorld, 
Can vnto thee not modell such a one : 
For if they would such Beautie bring on Earth, 
They should be forc'd againe to make Her breath. 

Son. [hi] 

OFate ! conspir'd to powre your Worst on mee, 
O rigorous Rigour, which doth all confound ! 
With cruell Hands yee haue cut downe the Tree, 
And Fruit and Flowre dispersed on the Ground. 
5 A litle Space of Earth my Loue doth bound, 
That Beautie which did raise it to the Skie, 
Turn'd in neglected Dust, now low doth lie, 
Deaie to my Plaints, and senslesse of my Wound. 
Ah! did I Hue for this, ah I did I loue ? 
io For this and was it shee did so excell ? 

That ere shee well Lifes sweet-sowre Ioyes did proue, 
Shee should (too deare a Guest) with Horrour dwell ? 
Weake Influence of Heauen ! what faire yee frame, 
Falles in the Prime, and passeth like a Dreame. 

II. 3 DNO. Of which that Eie of Heauen which brings 4 DNO. 
stayed 6 D. which did kindle Desire NO. which enfiam'd Desire 
10 NO. Sith she who caused all thy blisse is gone « DNO. Thy 
12 DNO. Can not vnto thee 13 DN. Or if O. Or if they should 

III. l DNO. O Fate conjur'd 4 D. And fruit and fiowrish scattred 
NO. And fruit with leaves have scattered 7 DNO. disdained Dust 
10 DNO. And was't for this (fierce powers) shee did excell n DNO. 
the sweets of life did proue 12 NO. with Darknesse dwell 13 DNO. 
what faire is wrought 14 DNO. like a Thought 


Son. [iv] 

OWoefull Life ! Life, no, but Hiring Death, 
Fraile Boat of Christall in a rockie Sea, 
A Sport expos'd to Fortunes stormie Breath, 
Which kept with Paine, with Terrour doth decay : 
5 The false Delights, true Woes thou dost bequeath, 
Mine all-appalled Minde doe so affraye, 
That I those enuie who are laid in Earth, 
And pittie them that runne thy dreadfull Waye. 
When did mine Eyes behold one chearefull Morne ? 
10 When had my tossed Soule one Night of rest ? 
When did not hatefull Starres my Projects scorne ? 
O ! now I finde for Mortalls what is best : 
Euen, sith our voyage shamefull is, and short, 
Soone to strike Saile, and perish in the Port. 

Son. [v] 

Mine Eyes, dissolue your Globes in brinie Streames, 
And with a Cloud of Sorrow dimme your Sight, 
The Sunnes bright Sunne is set, of late whose Beames 
Gaue Luster to your Day, Day to your Night. 
5 My Voyce now deafen Earth with Anatheames, 
Roare foorth a Challenge in the Worlds Despight, 
Tell that disguised Grief e is her Delight, 
That Life a Slumber is of fearfull Dreames. 
And woefull Minde abhorre to thinke of Ioy, 
10 My Senses all now comfortlesse you hide, 
Accept no Object but of blacke Annoy, 
Teares, Plaints, Sighs, mourning Weeds, Graues gaping 
I haue nought left to wish, my Hopes are dead, 
And all with Her beneath a Marble laide. 

IV. 3 NO. A Gem expos'd 6 DNO. My all-appalled Minde so 
doe 8 D. such should runne NO. those who run u DNO. Angrie 
Starres my Designes [D has the misprint Sarres] 12 NO. what is for 
Mortalls best 13 NO. Even, since 

V. * NO. Dissolve my Eyes 5 D. now deaue the Earth NO. 
now cleave the Earth 7 NO. Till 10 DNO. My Senses all from 
comforts all you hide 


Son. [vi] 

SWeet Soule, which in the Aprill of thy Yeares 
So to enrich the Heauen mad'st poore this Round, 
And now with golden Rayes of Glorie crown'd 
Most blest abid'st aboue the Spheare of Spheares ; 
5 If heauenly Lawes (alas) haue not thee bound 
From looking to this Globe that all vpbeares ? 
If Rueth and Pittie there aboue bee found ? 
O daigne to lend a Looke vnto those Teares. 
Doe not disdaine (deare Ghost) this sacrifice, 
10 And though I raise not Pillars to thy Praise 
Mine Offerings take, let this for mee suffice, 
My Heart a lining Piramide I raise : 
And whilst Kings Tombes with Lawrels flourish greene, 
Thine shall with Mirtles, and these Flowrs bee seene. 

Madrigall. [i] 

THis Life which seemes so faire, 
Is like a Bubble blowen vp in the Aire, 
By sporting Childrens Breath, 
Who chase it euery where, 
$ And striue who can most Motion it bequeath : 
And though it sometime seeme of its owne Might 
(Like to an Eye of gold) to be fix'd there, 
And fir me to houer in that emptie Hight, 
That only is because it is so light, 
10 But in that Pompe it doth not long appeare ; 
For euen when most admir'd, it in a Thought 
As swell' d from nothing, doth dissolue in nought. 

VI. * DNO. For to enrich 3 DNO. with flamming Rayes 4 DNO. 
abides 8 DNO. these Teares " DNO. My offrings 12 NO. I'll 

I. n D. For when it most admir'd is NO. For when 'tis most 
admired 12 DNO. Because it earst was nought, it turnes to nought 


Son. [vii] 

O! It is not to mee bright Lampe of Day, * 
That in the East thou shew'st thy rosie Face, 
O ! it is not to mee thou leau'st that Sea, 
And in these azure Lists beginst thy Race. 
5 Thou shin'st not to the Dead in any Place, 
And I (dead) from this World am gone away, 
Or if I seeme (a Shadow) yet to stay, 
It is a while but to bemone my Case. 
My Mirth is lost, my Comforts are dismay'd, 
10 And vnto sad Mis-haps their Place doe yeeld ; 
My Knowledge doth resemble a bloudie field, 
Where I my Hopes, and Helps see prostrate layd. 
So painefull is Lifes Course which I haue runne, 
That I doe wish it neuer had begunne. 

Song, [i] 

SAd Damon beeing come 
To that for-euer lamentable Tombe, 
Which those eternall Powers that all controule 
Vnto his lining Soule 
5 A melancholie Prison had prescriu'd : 
Of Hue, of Heate, of Motion quite depriu'd 
In Armes wake, trembling, cold, 
A Marble, hee the Marble did infold : 
And hauing made it war me with many a Showre, 
10 Which dimmed Eyes did powre, 

When Grief e had giuen him leaue, and Sighes them stay'd, 
Thus with a sad alas at last he said. 

Who would haue thought to mee 
The Place where thou didst lie could grieuous bee ? 

VII. 2 DNO. thou showes [NO. show'st] thy golden Face 3 D. 
thou leaues i DNO. those azure Lists begins [NO. began'st] 6 D. 
thou shines not 6 DNO. am past away 8 NO. bewaile my Case 
11 NO. represents a bloudy Field 13 DNO. So plaintfull 

I. 3 O. these 6 D. of motion depriu'd NO. Of Colour, Heat, and 
motion depriv'd 7 DNO. weake [N. wake], Fainting, Cold 9 DNO. 
And hauing warme it made 14 D. thou did lie 


15 And that (deare Body) long thee hauing sought 

(0 mee !) who would have thought ? 

Thee once to finde it should my Soule confound, 

And giue my Heart than Death a deeper Wound ? 

Thou didst disdaine my Teares, 
20 But grieue not that this ruethfull Stone them beares, 

Mine Eyes serue only now for thee to weepe, 

And let their Course them keepe, 

Although thou neuer wouldsi them Comfort show, 

Doe not repine, they haue Part of thy Woe. 
25 Ah Wretch ! too late I finde, 

How Vertues glorious Titles proue but Winde ; 

For if shee any could release from Death, 

Thou yet enioy'd hadst Breath ; 

For if shee ere appear' d to mortall Eine, 
30 It was in thy faire Shape that shee was seene. 

But d ! if I was made 

For thee, with thee why too am I not dead ? 

Why doe outragious Fates which dimm'd thy Sight, 

Let mee see hatefull Light ? 
35 They without mee made Death thee to surprise 

Tyrants (perhaps) that they might kill mee twise. 
Grief e ! and could one Day 

Haue Force such Excellence to take away ? 

Could a swift-flying Moment (ah) deface 
40 Those matchlesse Gifts, that Grace 

Which Art and Nature had in thee combinde, 

To make thy Body paragone thy Minde P 

Haue all past like a Cloud, 

And doth eternall Silence now them shroud P 
45 Is what so much admir'd was nought but Dust, 

Of which a Stone hath trust P 

Change I 6 cruell Change ! thou to our Sight 

18 DNO. then death 19 D. Thou did disdaine 21 DNO. Mine Eies 
for nothing serue, but thee to weepe 22 NO. that course 27 NO. For 
if that Vertue could 35 DNO. Death thee surprise 36 NO. Tyrants (no 
doubt) that 43 DNO. Hath all pass'd 45 NO, Is that, so much admir'd, 
now nought but Dust 


Shewes Destines Rigour equall doth their Might. 
When thou from Earth didst passe 
50 {Sweet Nymph) Perfections Mirrour broken was, 

And this of late so glorious World of ours, 

Like Meadow without Flowrs, 

Or Ring of a rich Gemme made blind, appear 'd, 

Or Night, by Starre nor Cynthia neither clear' d. 
55 Loue when hee saw thee die, 

Entomb 'd him in the Lidde of either Eye, 

And left his Torch within thy sacred Vrne, 

There for a Lampe to burne : 

Worth, Honour, Pleasure, with thy Life expired, 
60 Death since (growne sweet) beginnes to bee desir'd. 
Whilst thou to vs wast giuen, 

The Earth her Venus had as well as Heauen : 

Nay and her Sunne, which burnt as many Hearts, 

As hee doth E aster ne Parts ; 
65 Bright Sunne, which forc'd to leaue these Hemispheares, 

Benighted set into a Sea of Teares. 

Ah Death ! who shall thee flie ? 

Sith the most worthie bee o'rethrowne by thee ? 

Thou spar'st the Rauens, and Nightingalles dost kill, 
70 And triumphes at thy will : 

But giue thou canst not such an other Blow, 

Because like Her Earth can none other show. 
bitter-Sweets of Loue ! 

How better is 't at all you not to proue ? 
75 Than when wee doe your Pleasure most possesse, 

To find them then made lesse ? 

! that the Cause which doth consume our Ioy 

48 NO. Show'st the Fates Rigour equall to their Might 49 D. did passe 
53 N. which blind appear'd 54 NO. Or Starless night, or Cynthia 
nothing clear'd 61 D. was giuen NO. wert given 63 NO. Suns 
65 NO. Suns 68 NO. Since the most mighty are 69 D. Thou spares 
the Rauens and Nightingalls doth kill NO. the Crow, and Nightingall 
70 NO. triumphst 71 D. thou can not O. thou cannot 72 D. Because 
Earth can not one like her thee show NO. Because Earth cannot such 
another show 75 DN. Nor when wee doe your pleasures O. pleasures 
76 O. thus made 


Remembrance of it too, would too destroy ! 

What doth this Life bestow 
80 But Flowrs on Thornes which grow ? 

Which though they sometime blandishing delighte, 

Yet afterwards vs smite ? 

And if the rising Sunne them fair e doth see, 

That Planet setting, too beholdes them die. 
85 This World is made a Hell, 

Depriu'd of all that in it did excell. 

Pan, Pan, Winter is fallen in our May, 

Turn'd is in Night our Day ; 

Forsake thy Pipe, a Scepter take to thee, 
90 Thy Lockes disgarland, thou blacke Ioue shall bee. 

The Flockes doe leaue the Meads, 

And loathing three-leaf d Grasse, hold vp their Heads. 

The Streames not glide now with a gentle Rore, 

Nor Birds sing as before, 
95 Hilles stand with Clouds like Mourners, vaiVd in Blacke, 

And Owles on Caban Roofes fore-tell our Wracke. 
That Zephyre euerie Yeere 

So soone was heard to sigh in Forrests heere, 

It was for Her : that wrapt in Gownes of Greene, 
100 Meads were so earelie seene, 

That in the saddest Months oft sung the Mearles, 

It was for Her : for her Trees dropt foorth Pearles. 

That prowde, and statelie Courts, 

Did enuie those our Shades, and calme Resorts, 
105 It was for Her : and she is gone, 6 Woe ! 

Woods cut, againe doe grow, 

Budde doth the Rose, and Dazie, Winter done, 

But wee once dead no more doe see the Sunne. 
Whose Name shall now make ring 
1 10 The Ecchoes ? of whom shall the Nymphettes sing P 

78 NO. Would the remembrance of it too destroy ! 81 NO. sometime 
blandish soft delight 84 NO. setting doth behold 86 O. did in it 87 N. 
in May 88 NO. to night 90 DO. shall be 95 D. Hills stands [In the 
Oxford copy of D, the " s " of " stands " is erased in ink.] m D. song 
N. sang 104 DNO. these 108 DNO, doe no more see 


Whose heauenlie Voyce, whose Soule-inuading Straines, 

Shall fill with Ioy the Plaines P 

What Haire, what Eyes, can make the Morne in East 

Weepe, that a fairer riseth in the West ? 
115 Faire Sunne, poste still away, 

No Musicke heere is found thy Course to stay. 

Sweet Hybla Swarmes with Wormewood fill your Bowrs, 

Gone is the Flowre of Flowrs, 

Blush no more Rose, nor Lillie pale remaine, 
120 Dead is that Beautie which yours late did staine. 
Aye mee ! to waile my Plight 

Why haue not I as many Eyes as Night P 

Or as that Shepheard which Ioues Loue did keepe P 

That I still still may weepe : 
125 But though I had, my Teares vnto my Crosse 

Were not yet equall, nor Grief e to my Losse, 

Yet of you brinie Showrs, 

Which I heere powre, may spring as many Flowrs, 

As came of those which fell from Helens Eyes, 
130 And when yee doe arise, 

May euerie Leafe in sable Letters beare 

The dolefull Cause for which yee spring vp heere. 

116 DNO. is left 117 O. Hybla's 128 O. Which here I 129 NO. As 



Mad. [ii] 

DEare Night, the Ease of Care, 
Vntroubled Seate of Peace, 
Times eldest Childe, which oft the Blinde doe see, 
On this our Hemispheare, 
5 What makes thee now so sadly darke to bee ? 
Comm'st thou in funerall Pompe her Graue to grace ? 
Or doe those Starres which should thy Honour cleare, 
In Ioues high Hall aduise, 
In what Part of the Skies, 
10 With them, or Cynthia shee shall appeare ? 
Or (ah alas !) because those matchlesse Eyes 
Which shone so faire, below thou dost not finde, 
Striu*st thou to make all other Eyes looke blinde ? 

Son. [viii] 

MY Lute, bee as thou wast when thou didst grow 
With thy greene Mother in some shadie Groue, 
When immelodious Windes but made thee moue, 
And Birds on thee their Ramage did bestow. 
5 Sith that deare Voyce which did thy Sounds approue, 
Which vs'd in such harmonious Straines to flow, 
Is reft from Earth to tune those Spheares aboue, 
What art thou but a Harbenger of Woe ? 
Thy pleasing Notes, be pleasing Notes no more, 
10 But orphane Wailings to the fainting Eare, 

Each Stoppe a Sigh, each Sound drawes foorth a Teare, 
Bee therefore silent as in Woods before, 
Or if that any Hand to touch thee daigne, 
Like widow'd Turtle, still her Losse complaine. 

II. 6 DO. Comes thou " D. Striues thou 

VIII. x DNO. as thou was [NO. wert] when thou did grow 4 D. 
their ramage on thee did NO. their ramage did on thee 5 NO. 
Since 6 DNO. Which wont [In the Oxford copy of D, the misprint 
Sraines is corrected in ink to Straines] 10 NO. But Orphans n DNO. 
Each Stroke 12 D. For which thou silent [In the Oxford copy of D, 
thou is corrected in ink to be] NO. For which be silent 


Son. [ix] 

SWeet Spring, thou turn'st with all thy goodlie Traine, 
Thy Head with Flames, thy Mantle bright with Flowrs, 
The Zephyres curie the greene Lockes of the Plaine, 
The Cloudes for Ioy in Pearles weepe downe their Showrs. 
5 Thou turn'st (sweet Youth) but ah my pleasant Howres, 
And happie Dayes, with thee come not againe, 
The sad Memorialls only of my Paine 
Doe with thee turne, which turne my Sweets in Sowres. 
Thou art the same which still thou wast before, 
10 Delicious, wanton, amiable, faire, 

But shee, whose Breath embaulm'd thy wholesome Aire, 
Is gone : nor Gold, nor Gemmes Her can restore. 
Neglected Vertue, Seasons goe and come, 
While thine forgot lie closed in a Tombe. 

Son. [x] 

WHat doth it serue to see Sunnes burning Face ? 
And Skies enamelTd with both the Indies Gold ? 
Or Moone at Night in jettie Charriot roll'd ? 
And all the Glorie of that starrie Place ? 
5 What doth it serue Earths Beautie to behold ? 
The Mountaines Pride, the Meadowes flowrie Grace, 
The statelie Comelinesse of Forrests old, 
The Sport of Flouds which would themselues embrace ? 
What doth it serue to heare the Syluans Songs, 
10 The wanton Mearle, the Nightingalles sad Straines, 
Which in darke Shades seeme to deplore my Wrongs ? 
For what doth serue all that this World containes, 
Sith shee for whome those once to mee were deare, 
No Part of them can haue now with mee heere ? 

IX. x D. thou turnes 5 D. Thou turnes N. Dost returne sweet 
Youth ? O. Turn thou, sweet Youth ? 8 NO. to Sow'rs 9 D. thou 
was NO. thou wert 10 NO. Delicious, lusty 12 NO. can her 
14 DNO. When thine 

X. * NO. the Suns bright Face 2 D. And Skies enembl'd NO. 
with the Indian gold 3 N. Or the Moone in a fierce Chariot rold 
O. Or jetty Moon at Night in Chariot roll'd 10 NO. The cheerefull 
Thrush " DNO. seems 13 NO. Since she » DNO. Can haue 
no part of them now 


Mad. [iii] 

THe Beautie, and the Life, 
Of Lif es, and Beauties fairest Paragon, 
(0 Teares ! 6 Grief e !) hang at a feeble Thread, 
To which pale Atropos had set her Knife, 
5 The Soule with many a Grone 
Had left each outward Part, 
And now did lake his last Leaue of the Heart, 
Nought else did want, saue Death, euen to be dead : 
When the afflicted Band about her Bed 
io {Seeing so faire him come in Lips, Cheekes, Eyes) 
Cried, ah ! and can Death enter Paradise ? 

Son. [xi] 

sfH Napkin, ominous Present of my Deare, 
-^-2 Gift miserable, which doth now remaine 
The only Guerdon of my helpelesse Paine, 
When I thee got thou shew'd my State too cleare : 

5 I neuer since haue ceased to complaine, 
Since, I the Badge of Grief e did euer weare, 
Ioy on my Face durst neuer since appeare, 
Care was the Food which did mee entertaine. 
Now (since made mine) deare Napkin doe not grieue 

io That I this Tribute pay thee from mine Eine, 
And that (these posting Houres I am to Hue) 

I laundre thy faire Figures in this Brine : 

No, I must yet euen begge of thee the Grace, 

That thou wouldst daigne in Graue to shrowde my Face. 

III. 3 NO. hung 8 DNO. for to be dead ° NO. When the sad 
company 10 NO. Seeing Death invade her lips 

XI. x NO. Ah Handkercher [O. Handkercheif], sad present 
4 DNO. thou shewst [In the Oxford copy of D, to is corrected in ink to 
too] 6 NO. I since 7 NO. Ioy in 9 D. But sith thou mine art 
(Napken) doe not grieue NO. But since thou art mine, O do not grieve 

II DNO. And that I (this short Time I am to hue) 12 DNO. Laundre 
thy silken Figures 14 D. In Graue that thou wouldst daigne to 
NO. That in my Grave thou daigne to 


Mad. [iv] 

POore Turtle, thou bemones 
The Losse of thy deare Loue, 
And I for mine send foorth these smoaking Grones, 
Vnhappie widow* d Doue, 
While all about doe sing, 
I at the Roote, Thou on the Branche aboue, 
Euen wearie with our Mones the gaudie Spring. 
Yet these our Plaints wee doe not spend in vaine, 
Sith sighing Zephyres answere vs againe. 

Son. [xii] 

AS in a duskie and tempestuous Night, 
A Starre is wont to spreade her Lockes of Gold, 
And while her pleasant Rayes abroad are roll'd, 
Some spitefull Cloude doth robbe vs of her Sight : 
5 (Faire Soule) in this blacke Age so shin'd thou bright, 
And made all Eyes with Wonder thee beholde, 
Till vglie Death depriuing vs of Light, 
In his grimme mistie Armes thee did enfolde. 
Who more shall vaunt true Beautie heere to see ? 
10 What Hope doth more in any Heart remaine, 
That such Perfections shall his Reason raine ? 
If Beautie with thee borne too died with thee ? 

World, plaine no more of Loue, nor count his Harmes, 
With his pale Trophees Death hath hung his Armes. 

XII. " O. has hum? 


Son. [xiii] 

SIth it hath pleas'd that First and onlie Faire 
To take that Beautie to himselfe againe, 
Which in this World of Sense not to remaine, 
But to amaze, was sent, and home repaire, 
5 The Loue which to that Beautie I did beare 
(Made pure of mortall Spots which did it staine, 
And endlesse, which euen Death cannot impaire) 
I place on him who will it not disdaine. 
No shining Eyes, no Lockes of curling Gold, 
10 No blushing Roses on a virgine Face, 

No outward Show, no, nor no inward Grace, 
Shall Force hereafter haue my Thoughts to hold : 

Loue heere on Earth hudge Stormes of Care doe tosse, 
But plac'd aboue, exempted is from Losse. 

Mad. [v] 

MY Thoughts hold mortall Strife, 
I doe detest my Life, 
And with lamenting Cries 
(Peace to my Soule to bring) 
Oft calles that Prince which here doth Monarchise, 
But Hee grimme-grinning King, 
Who Catiues scornes, and doth the Blest surprise, 
Late hauing deckt with Beauties Rose his Tombe, 
Disdaines to croppe a Weede, and will not come. 

XIII. x NO. Since DNO. supreme Faire 12 NO. Shall power 
haue my thoughts henceforth to hold 13 NO. doth tosse 14 D. 

eximed is from losse 

V. This piece is wanting in D, and in N. 

6 O. Oft call 



Song, [ii] 

T Autumne was, and on our Hemispheare 
Faire Ericyne began bright to appeare, 
Night West-ward did her gemmie World decline, 
And hide her Lights, that greater Light might shine : 

5 The crested Bird had giuen Alarum twise 
To lazie Mortalls, to vnlocke their Eyes, 
The Owle had left to plaine, and from each Thome 
The wing'd Musicians did salute the Morne, 
Who (while shee glass' 'd her Lockes in Ganges Streames) 

10 Set open wide the christall Port of Dreames : 
When I, whose Eyes no drowsie Night could close, 
In Sleepes soft Armes did quietly repose, 
And, for that Heauens to die mee did denie, 
Deaths Image kissed, and as dead did lie. 

15 / lay as dead, but scarce charm! d were my Cares, 
And slaked scarce my Sighes, scarce dried my Teares, 
Sleepe scarce the vglie Figures of the Day 
Had with his sable Pincell put away, 
And left mee in a still and calmie Mood, 

20 When by my Bed (me thought) a Virgine stood, 
A Virgine in the blooming of her Prime, 
If such rare Beautie measured bee by Time ? 
Her Head a Garland ware of Opalls bright, 
About Her flow' d a Gowne as pure as Light, 

25 Deare amber Lockes gaue Vmbrage to her Face, 
Where Modestie high Majestie did grace, 
Her Eyes such Beames sent foorth, that but with Paine 
Here, weaker Sights their sparckling could sustaine : 
No Deitie faign'd which haunts the silent Woods 

30 Is like to Her, nor Syrene of the Floods : 
Such is the golden Planet of the Yeare, 

II. * O. greater Lights 6 O. Alarm 9 NO. she dress'd her Locks 
13 NO. did me 23 NO. wore 24 DNO. like purest Light 25 NO. 
Pure Amber Locks 28 N . Her weaker Sights O. Sparklings 29 DNO. 
No faigned Deitie which haunts the Woods 


When blushing in the East hee doth appeare. 
Her Grace did Beautie, Voyce yet Grace did passe, 
Which thus through Pearles and Rubies broken was. 

35 How long wilt thou (said shee) estrang'd from Ioy, 
Paint Shadow es to thy selfe of false Annoy ? 
How long thy Minde with horride Shapes affrighte, 
And in imaginarie Euills delighte P 
Esteeme that Losse which (well when view'd) is Gaine, 

40 Or if a Losse, yet not a Losse to plaine ? 
leaue thy tyred Soule more to molest, 
And thinke that Woe when shortest then is best. 
If shee for whom thou deafnest thus the Skie 
Bee dead ? what then ? was shee not borne to die ? 

45 Was shee not mortall borne ? if thou dost grieue 
That Times should bee, in which shee should not Hue, 
Ere e're shee was, weepe that Dayes Wheele was rolVd, 
Weepe that shee liu'd not in the Age of Gold : 
For that shee was not then, thou may'st deplore 

50 As duely as that now shee is no more. 

If onely shee had died, thou sure hadst Cause 
To blame the Destines and Heauens yrone Lawes : 
But looke how many Millions Her aduance, 
What numbers with Her enter in this Dance, 

55 With those which are to come : shall Heauens them siaye, 
And Alls faire Order breake, thee to obaye ? 
Euen as thy Birth, Death which thee doth appall, 
A Piece is of the Life of this great All. 
Strong Cities die, die doe high palmie Raignes, 

Co And (weakling) thou thus to bee handled plaines. 
If shee bee dead ? then shee of lothsome Dayes 
Hath past the Line, whose Length but Losse bewray es ; 
Then shee hath left this filthie Stage of Care, 

39 O. (when well view'd) 40 N. too plaine 41 DNO. plaintfull Soule 
43 DNO. thou thus dost deaue [NO. deafe] 50 DNO. As well as that she 
now can be no more 6a D. and their irone Lawes NO. To blame the 
Fates, and their too iron Laws 56 NO. And th' Universe dissolve thee 
to obey 57 DNO. As Birth, Death, which so much thee apall 60 DNO. 
And fondling thou thus to be treat [NO. us'd] complaines 


Where Pleasure seldome, Woe doth still repaire : 

65 For all the Pleasures which it doth containe, 
Not conteruaile the smallest Minutes Paine. 
And tell mee, Thou who dost so much admire 
This title Vapour, Smoake, this Sparke, or Fire, 
Which Life is call'd, what doth it thee bequeath, 

70 But some few Yeeres which Birth drawes out to Death ? 
Which if thou paragone, with Lusters runne, 
And them whose Carrier e is but now begunne, 
In Dayes great Vaste they shall farre lesse appear e, 
Than with the Sea when matched is a Teare. 

75 But why wouldst thou Here longer wish to bee ? 
One Yeere doth serue all Natures Pompe to see, 
Nay, euen one Day, and Night : This Moone, that Sunne, 
Those lesser Fires about this Round which runne, 
Bee but the same which vnder Saturnes Raigne 

80 Did the serpenting Seasons enterchaine. 
How oft doth Life grow lesse by liuing long ? 
And what excelleth but what dieth yong ? 
For Age which all abhorre (yet would embrace) 
Whiles makes the Minde as wrinckled as the Face : 

851 And when that Destinies conspire with Worth, 
1 That Yeeres not glorie Wrong, Life soone goes forth. 
Leaue then Laments, and thinke thou didst not Hue, 
Lawes to that first eternall Cause to giue, 
But to obey those Lawes which hee hath giuen, 

90 And bow vnto the just Decrees of Heauen, 
Which can not erre, what euer foggie Mists 
Doe blinde Men in these sublunarie Lists. 

But what if shee for whom thou spend' st those Grones, 
And wastest Lifes deare Torch in ruethfull Mones, 

64 O. Pleasures 65 D. For all the Pleasures which it intertaine 68 D. 
This little Vapour, Recke, this Sparke or Fire NO. This little Vapour, 
this poore Sparke of Fire 71 NO. if thou paralell 72 NO. Or those whose 
courses are 73 NO. In daies great Numbers [O. Number] they shall lesse 
appear e 7 * D. Then with 75 O. shouldst 84 NO. Doth make 85 D. 
And when that Destines doe conspire 86 and 86 are wanting in N and O. 
87 DNO. Then leaue 93 DO. thou spends 94 DNO. And wastes thy 


95 Shee for whose sake thou hat'st the joy fall Light, 
Court' st solitarie Shades, and irkesome Night, 
Doth Hue ? b ! {if thou canst) through Teares a Space 
Lift thy dimm'd Lights, and looke vpon this Face, 
Looke if those Eyes which (foole) thou didst adore, 

ioo Shine not more bright than they were wont before ? 
Looke if those Roses Death could ought impaire, 
Those Roses to thee once which seeni'd so faire ? 
And if these Lockes haue lost ought of that Gold, 
Which earst they had when thou them didst behold ? 

105 I Hue, and happie Hue, but thou art dead, 
And still shalt bee, till thou be like mee made. 
Alas ! whilst wee are wrapt in Gownes of Earth, 
And blinde, heere sucke the Aire of Woe beneath, 
Each thing in Senses Ballances wee wie, 

no And but with Toyle, and Paine the Trueth descrie. 
Aboue this vaste and admirable Frame, 
This Temple visible, which World wee name, 
Within whose Walles so many Lamps doe burne, 
So many Arches opposite doe turne, 

115 Where Element all Brethren nurse their Strife, 
And by intestine Wanes maintaine their Life, 
There is a World, a World of perfect Blisse, 
Pure, immateriall, bright, more farre from this, 
Than that high Circle which the rest enspheares 

120 7s from this dull ignoble Vale of Teares, 

A World, where all is found, that heere is found, 
But further discrepant than Heauen and Ground : 
It hath an Earth, as hath this World of yours, 
With Creatures peopled, stor'd with Trees, and Flowrs, 

125 It hath a Sea, like Saphire Girdle cast, 

Which decketh of harmonious Shores the Waste, 

95 D. thou hates 96 DO. Courts 97 O. ah ! 102 DNO. which thou 
once said [NO. saidst] were 104 NO. Which once 107 NO. while 
111 In the copies of F presented by Drummond, "waste" is corrected in ink 
to "vaste" by Drummond himself. 114 NO. Arches with crosse motions 
turne n5 DNO. the [O. th'] Elementall Brothers 118 N. as brighter far 
from this O. bright as, far from this 119 NO. As that 122 D. farder 
124 NO. and adorned with Flow'rs 126 DNO. decks of the harmonious 


It hath pure Fire, it hath delicious Aire, 

Moone, Sunne, and Starr es, Heauens wonderfully faire : 

But there Flowrs doe not fade, Trees grow not olde, 

130 The Creatures doe not die through Heat nor Colde, 
Sea there not tossed is, nor Aire made blacke, 
Fire doth not nurse it selfe on others Wracke ; 
There Heauens bee not constrained about to range, 
For this World hath no neede of any Change : 

135 The Minutes grow not Houres, Houres rise not Dayes, 
Dayes make no Months, but euer-blooming Mayes. 

Heere I remaine, and hitherward doe tend 
All who their Spanne of Dayes in Vertue spend : 
What euer Pleasure this low Place containes, 

140 It is a Glance but of what high remaines. 

Those who (perchance) thinke there can nothing bee 
- Without this wide Expansion which they see, 
*And that nought else mounts Starr es Circumference, 
For that nought else is subject to their Sense, 

145 Feele such a Case, as one whom some Abisme 
Of the Deepe Ocean kept had all his Time : 
Who borne and nourished there, can scarcely dreame 
That ought can Hue without that brinie Streame, 
Can not beleeue that there be Temples, Towres, 

150 Which goe beyond his Caues and dampish Bowres, 
— Or there bee other People, Manners, Lawes, 
Than them hee finds within the roaring Waues, 
That sweeter Flowrs doe spring than grow on Rockes, 
Or Beasts bee which excell the skalie Flockes, 

153 That other Elements bee to bee found, 
I Than is the Water, and this Ball of Ground. 

129 no. Flow'rs never there do fade 130 NO. No Creature dieth there 
132 no. Fire doth not greedy feed on 135 NO. Minutes mount not to 
Houres, nor Houres to Daies 139 DNO. What euer Pleasant li0 DNO. 
7s but a glance of what aboue remaines 142 NO. Beyond this 116 NO. 
In the deep 147 DNO. cannot belieue U8 DNO. That elsewhere Ought 
without those waues can Hue 152 D. the churlish Waues NO. Than what 
he finds within the churlish Waves 154 NO. Or Beasts there are 155 NO. 
are to be found 


But thinke that Man from those Abismes were brought, 
And saw what curious Nature here hath wrought. 
Did see the Meads, the tall and shadie Woods, 

160 The Hilles did see, the cleare and ambling Floods, 

The diuerse Shapes of Beasts which Kinds foorth bring, 
The feathred Troupes, that flie and sweetly sing : 
Did see the Palaces, the Cities faire, 
The Forme of humane Life, the Fire, the Aire, 

165 The brightnesse of the Sunne that dimmes his Sight, 
The Moone, the gastly Splendors of the Night : 
What vncouth Rapture would his Minde surprise ? 
How would hee his (late-deare) Resort despise ? 
How would hee muse how foolish hee had beene 

170 To thinke nought bee, but what hee there had seene ? 
Why did wee get this high and vaste Desire, 
Vnto immortall things still to aspire ? 
Why doth our Minde extend it beyond Time, 
And to that highest Happinesse euen clime? 

175 If wee be nought but what to Sense wee seeme, 
And Dust, as most of Worldlings vs esteeme? 
Wee bee not made for Earth, though here wee come, 
More than the Embryon for the Mothers Wombe : 
It weepes to bee made free, and wee complaine 

180 To leaue this loathsome Iayle of Care and Paine. 
But thou who vulgare Foot-steps dost not trace, 
Learne to raise vp thy Minde vnto this Place, 
And what Earth-creeping Mortalles most affect, 
If not at all to scorne, yet to neglect : 

185 chase not Shadowes vaine, which when obtained, 

167 NO. from this Abisme being brought 158 NO. Did see 
159 NO. Did view 160 NO. And mark'd the hills, and the cleare 
rowling flouds m NO. And all the Beasts that Nature forth doth bring 
162 O. flee 168 NO. Observ'd the Palaces, and Cities faire "* DNO. 
Mens Fashion of Life 166 NO. The Moone, and splendors of the painted 
Night 167 NO. sudden rapture 17 ° NO. To thinke all nothing but 
what there was seen 171 NO. Why do we 176 N. For we are more 
than what O. If we are 176 NO. And more than Dust us Worldlings 
do esteeme 177 O. We are 178 O. Embryo m N. to rowse up thy 
mind to view this place 184 N. yet not to neglect 185 NO. Seek not 
vaine shadows, which when once obtain 'd 


Were better lost, than with such Trauell gain'd. 
Thinke that, on Earth which Humanes Greatnesse call, 
Is but a glorious Title to Hue thrall : 
That Scepters, Diadems, and Chaires of State, 

190 Not in themselues, but to small Mindes are great : 
How those who loftiest mount, doe hardest light, 
And deepest Falls bee from the highest Right ; 
Row Fame an Eccho is, how all Renowne 
Like to a blasted Rose, ere Night falles downe : 

195 And though it something were, thinke how this Round 
Is but a title Point, which doth it bound. 
leaue that Loue which reacheth but to Dust, 
And in that Loue eternall only trust, 
And Beautie, which when once it is possest, 

200 Can only fill the Soule, and make it blest. 
Pale Enuie, jealous Emulations, Feares, 
Sighs, Plaints, Remorse, here haue no Place, nor Teares, 
False loyes, vaine Hopes, here bee not, Hate nor Wrath, 
What ends all Loue, here most augments it, Death. 

205 If such Force had the dimme Glance of an Eye, 
Which some few Dayes thereafter was to die, 
That it could make thee leaue all other things, 
And like the Taper-flie there burne thy Wings ? 
And if a Voyce, of late which could but waile, 

210 Such Power had, as through Eares thy Soule to steale ? 
If once thou on that only Faire couldst gaze, 
What Flames of Loue would hee within thee raise ? 
In what a mazing Maze would it thee bring, 
To heare but once that Quire celestiall sing ? 

215 The fairest Shapes on which thy Loue did sease, 
Which earst did breede Delight, then would displease, 
Then Discords hoarse were Earths entising Sounds, 
All Musicke but a Noyse which Sense confounds. 

180 NO. Are better los'd 18? NO. what worldlings m NO. That those 
193 NO. That Fame, an Eccho is, and all Renown 20e NO. Which but 
some few daies afterwards did die 208 NO. And like a 2U N. poorely 
Faire O. purely Fair could 2ia NO. would this 213 N. In what a 
musing Maze O. In what amazing Maze 217 O. But Discords 


This great and burning Glasse that clear es all Eyes, 

220 And musters with such Glorie in the Skies, 
That siluer Starre which with its sober Light, 
Makes Day oft enuie the eye-pleasing Night, 
Those golden Letters which so brightly shine 
In Heauens great Volume gorgeously diuine, 

225 The Wonders all in Sea, in Earth, in Aire, 
Bee but darke Pictures of that Soueraigne Faire, 
Bee Tongues, which still thus crie into your Eare, 
[Could yee amidst Worlds Cataracts them heare) 
From fading things (fond Wights) lift your Desire, 

230 And in our Beautie, his vs made admire, 

If wee seeme faire ? 6 thinke how faire is Hee, 
Of whose faire Fairnesse, Shadowes, Steps, we bee. 
No Shadow can compare it with the Face, 
No Step with that deare Foot which did it trace ; 

235 Your Soules immortall are, then place them hence, 
And doe not drowne them in the Must of Sense : 
Doe not, b doe not by false Pleasures Might 
Depriue them of that true, and sole Delight. 
rThat Happinesse yee seeke is not below, 

240 Earths sweetest Ioy is but disguised Woe. 

Heere did shee pause, and with a milde Aspect 
Did towards mee those lamping Twinnes direct : 
The wonted Rayes I knew, and thrice essay 1 d 
To answere make, thrice faullring Tongue it stay'd. 

245 And while vpon that Face I fed my Sight, 
Mee thought shee vanished vp in Titans Light, 
Who guilding with his Rayes each Hill and Plaine, 
Seem*d to haue brought the Gold-smiths World againe. 

219 DNO. which chares 221 D. with her sober Light NO. with her 
purer Light 225 NO. All wonders in the Sea, the Earth, the Aire 227 NO. 
And Tongues 229 NO. {fond Men) 232 NO. great Fairenesse 233 NO. 
compare unto the Face 236 NO. Mist of Sense 237 O. O do not, do 
not 2 « NO. the Golden World 



of Moeliades. 

To the Author. 

IN Waues of Woe thy Sighes my Soule doe tosse, 
And doe burst vp the Conduits of my Teares, 
Whose ranckling Wound no smoothing Baulme long 

But freshly bleedes when Ought vpbr aides my Losse. 
5 Then thou so sweetly Sorrow makes to sing, 
And troubled Passions dost so well accord, 
That more Delight thine Anguish doth afford, 
Than others Ioyes can Satisfaction bring. 
What sacred Wits (when rauish'd) doe affect, 
10 To force Affections, metamorphose Mindes, 

Whilst numbrous Power the Soule in secret bindes, 
Thou hast perform'd, transforming in Effect : 
For neuer Plaints did greater Pittie moue, 
The best Applause that can such Notes approue. 

S n W. Alexander. 

2 NO. And make run out the floud-gates of my teares 4 NO. But 
freely bleeds 6 NO. 'Tis thou so sweetly Sorrow makest 7 ACDNO. 
Thy Anguish 8 A. Then others Ioyes u O. numerous Power 




of Moeliades. 

Heauens ! then is it true that Thou art gone, 
And left this woefull He her Losse to mone, 
Moeliades ? bright Day-Starre of the West, 
A Comet, blazing Terrour to the East : 
And neither that thy Spright so heauenlywise, 
Nor Bodie (though of Earth) more pure 
than Skies, 

Nor royall Stemme, nor thy sweet tender Age, 

Of adamantine Fates could quench the Rage ? 

fading Hopes ! short-while-lasting Ioy ! 
10 Of Earth-borne Man, which one Houre can destroy ! 

Then euen of Vertues Spoyles Death Trophees reares, 

As if hee gloried most in many Teares. 

Forc'd by grimme Destines, Heauens neglect our Cryes, 

Starres seeme set only to acte Tragoedies : 
15 And let them doe their Worst, since thou art gone, 

Raise whom they list to Thrones, enthron'd dethrone, 

Staine Princely Bowres with Blood, and euen to Gange, 

In Cypresse sad, glad Hymens Torches change. 

Ah ! thou hast left to Hue, and in the Time, 
20 When scarce thou blossom' d in thy pleasant Prime, 

So falles by Northerne Blast a virgine Rose, 

At halfe that doth her bashfull Bo some close : 

« ACD. then Skies 8 ACDNO. Of cruell Destinies 10 ACDNO. 
that one houre 13 ACDNO. Forc'd by [A. be] hard Fates, doe Heauens 
14 ACDNO. Are Starres set onely 15 NO. Then let them 16 N. 
thou list 19 ACD. Ah thou hath 20 NO. blossom'd'st 



in these 
is giuen 


is that 
he him- 
selfe in 

y Chal- 
of his 
& Mas- 
to vse, 
des Prince 
of the Isles 
in Ana- 
Miles A 


So a sweet Flourish languishing decay es, 

That late did blush when kist by Phoebus Rayes : 

25 So Phoebus mounting the Meridians Right, 
Choack'd by pale Phoebe, faints vnto our Sight. 
Astonish' d Nature sullen stands to see 
The Life of all this All, so chang'd to bee, 
In gloomie Gownes the Starres about deplore, 

30 The Sea with murmuring Mountaines beates the Shore, 
Blacke Darknesse reeles o're all, in thousand Showres 
The weeping Aire, on Earth her Sorrow powres, 
That (in a Palsey) quakes to finde so soone 
Her Louer set, and Night burst foorth ere Noone. 

35 // Heauen (alas) ordain' d thee young to die, 
Why was it not where thou thy Might did'st trie ? 
And to the hopefull World at least set forth 
Some title Sparke of thine expected Worth ? 
Mceliades, 6 that by Isters Streames, 

40 Amongst shrill- sounding Trumpets, flaming Gleames 
Of warme encrimson'd Swords, and Cannons Roare, 
Balls thicke as Raine pour'd by the Caspian Shore, 
Amongst crush' d Lances, ringing Helmes, and Shields, 
Dismembred Bodies rauishing the Fields, 

45 In Turkish Blood made red like Marses Starre, 
Thou ended hadst thy Life, and Christian Wane ! 
Or as braue Burbon thou hadst made old Rome, 
Queene of the World, thy Triumphs Place, and Tombe t 
So Heauens faire Face to the vnborne which reades 

50 A Booke had beene of thine illustrous Deedes : 
So to their Nephewes aged Syres had told 

23 NO. So a sweet Flower 29 NO. this losse deplore 33 ACDNO. 
to see so soone 3e ACDNO. Why was't not where thou mightst thy 
valour trie 37 ACDNO. wondring world 38 ACDNO. of thy 40 ACDNO. 
Mong sounding trumpets, fierie twinckling gleames 41 ACDNO. 

vermilion Swords 42 NO. pour'd on 43 ACDNO. Mong [NO. 
'Mongst] broken speares, mong [NO. 'mongst] ringing helmes & 
shieldes 44 ACDNO. Huge heapes of slaughtred bodies long the fieldes 
40 ACD. Thou ended had 47 ACD. thou had made 48 ACDNO. 
thy triumph and thy tombe 49 A. to comming worlds which reedes 
CDNO. to Th' vnborne World which reades 50 ACDNO. of thy 


The high Exploits performed by thee of old, 

Townes raz'd, and rais'd, victorious, vanquished Bands, 

Fierce Tyrants flying, foyVd, kilVd, by thy Hands. 

55 And in deare Arras, Virgines faire had wrought 
The Bayes and Trophees to thy Countrey brought : 
While some new Homer imping Pennes to Fame, 
Deafe Nilus Dwellers had made heare thy Name. 
That thou didst not attaine those Honours Spheares, 

60 It was not want of Worth, d no, but Yeares. 

A Youth more braue, pale Troy with trembling Walles 
Did neuer see, nor shee whose Name apalles 
Both Titans golden Bowres, for bloody Fights 
Mustring on Marses Field such Marse-Z^£ Knights. 

65 The Heauens had brought thee to the highest Eight, 
Of Wit, and Courage, shewing all their Might 
When they thee framed : Ay mee ! that what is braue 
On Earth, they as their owne so soone should craue. 
Moeliades sweet courtly Nymphes deplore, 

70 From Thuly to Hydaspes pearlie Shore. 

When Forth thy Nurse, Forth where thou first didst passe 
Thy tender Daves [who smyVd oft on her Glasse 
To see thee gaze) Meandring with her Streames, 
Heard thou hadst left this Round, from Phoebus Beames 

75 Shee sought to flie, but forced to returne 

By neighbour Brookes, Shee gaue her selfe to mourne : 
And as shee rush'd her Cyclades among, 
Shee seem'd to plaine, that Heauen had done her wrong. 
With a hoarse Plaint, Cleyd downe her steepie Roches, 

80 And Tweed through her greene Mountaines cled with Flockes, 
Did wound the Ocean, murmuring thy Death, 
The Ocean that roar'd about the Earth, 

55 NO. And in rich Arras 57 A great Homer ACDNO. imping wings 
to fame 59 ACD. That thou did not attaine these 60 A. Through 
lacke of power it was not, but of yeares CDNO. Through want of 
Worth it was not, but of Yeares 61 A. A brauer youth 63 ACDNO. 
in bloodie fights 64 NO. on Mars his Field 70 A. From ruddy 
Hesp'rus rising to Aurore 71 ACD. did passe 74 ACD. Heard thou had 
76 NO. By Neighbouring Brooks, She set her selfe to mourne 80 DNO. 
clad 8a NO. The Ocean it roar'd 


And it to Mauritanian Atlas told, 

Who shrunke through Griefe, and downe his white Haires 

85 Hudge Streames of Teares, that changed were in Floods, 
With which hee drown 'd the neighbour Plaines and Woods. 
The lesser Brookes as they did bubbling goe, 
Did keepe a Consort vnto publike Woe : 
The Shepheards left their Flockes with downe-cast Eyes, 

90 Disdaining to looke vp to angrie Skies : 

Some broke their Pipes, and some in sweet-sad Layes, 

Made senslesse things amazed at thy Praise. 

His Reed Alexis hung vpon a Tree, 

And with his Teares made Doven great to bee. 

95 Mceliades sweet courtly Nymphes deplore, 
From Thuly to Hydaspes pearlie Shore. 

Chaste Maides which haunt faire Aganippe Well, 
And you in Tempes sacred Shade who dwell, 
Let fall your Harpes, cease Tunes of Ioy to sing, 

100 Discheueled make all Parnassus ring 

With Antheames sad, thy Musicke Phoebus turne 
In dolefull Plaints, whilst Ioy it selfe doth mourne : 
Dead is thy Darling, who decor 1 d thy Bayes, 
Who oft was wont to cherish thy sweet Layes, 

105 And to a Trumpet raise thine amorous Stile, 
That floting Delos enuie might this He. 
You Acidalian Archers breake your Bowes, 
Your Brandons quench, with Teares blot Beauties Snowes, 
And bid your weeping Mother yet againe 

no A second Adons Death, nay, Marses plaine : 

His Eyes once were your Darts, nay, euen his Name 
Where euer heard, did euery Heart inflame : 

83 ACDNO. And to the 85 ACD. teares, which NO. tears, which 
changed were to flouds 86 ACDNO. Wherewith he drown'd 88 NO. 
to the publike Woe 90 ACDNO. Sdaining to looke vp to the angrie 
Skyes 91 ACDN. brake 93 ACD. hang 96 A. From ruddy Hesp'rus 
rising to Aurore 97 NO. Aganippes 102 NO. To dolefull plaints 
108 NO. who adorn'd 105 ACDNO. raise thy 106 ACD have the 
misprint enuied for enuie 108 NO. Your Torches quench no NO. nay 
Mars his plaine 


Tagus did court his Loue, with golden Streames, 

Rhein with his Townes, faire Seine, with all shee claimes. 

115 But ah (poore Louers) Death did them betrey, 
And [not suspected) made their Hopes his Prey ! 
Tagus bewailes his Losse, with golden Streames, 
Rhein with his Townes, faire Seine with all shee claimes. 
Mceliades sweet courtly Nymphes deplore, 

120 From Thuly to Hydaspes pearlie Shore. 

Delicious Meads, whose checkred Plaine foorth brings, 
White, golden, azure Flowres, which once were Kings, 
In mourning Blacke, their shining Colours dye, 
Bow downe their Heads, whilst sighing Zephyres flye. 

125 Queene of the Fields, whose Blush makes blushe the Morne, 
Sweet Rose, a Princes Death in Purple mourne. 
Hyacinthes, for ay your AI keepe still, 
Nay, with moe Markes of Woe your Leaues now fill : 
And you, Flowre of Helens T ear es first borne, 

130 Into those liquide Pearles againe you turne. 

Your greene Lockes, Forrests, cut, in weeping Myrrhes, 
The deadly Cypresse, and Inke-dropping Firres, 
Your Palmes and Mirtles change ; from Shadowes darke 
Wing'd Syrens waile, and you sad Ecchoes marke 

135 The lamentable Accents of their Mone, 
And plaine that braue Moeliades is gone. 
Stay Skie thy turning Course, and now become 
A stately Arche, vnto the Earth his Tombe : 
Ouer which ay the watrie Iris keepe, 

140 And sad Electras Sisters which still weepe. 
Mceliades sweet courtly Nymphes deplore, 
From Thuly to Hydaspes pearlie Shore. 

116 ACD. Death them did betray 117 O. his Loss in 12 ° A. From 
ruddy Hesp'rus rising to Aurore 121 A. Faire Meades amidst whose 
grassie veluet springs CDNO. Eye-pleasing Meads whose painted Plaine 
forth brings 1M O. while 126 A. whose blushes staines the Morne 
128 O. more 129 and 13 ° are wanting in A 129 CDNO. that's borne 
130 CDNO. Into these m NO. cut to 132 NO. To deadly Cypres 
133 A. Your Palmes and Mirtles turne 139 NO. And over it still watry 
Iris keep 14 ° A. And soft-eyed Pleides which still doe weepe 142 A. 
From ruddy Hesp'rus rising to Aurore 


Deare Ghost, forgiue these our vntimely Teares, 
By which our louing Minde, though weake, appeares, 

145 Our Losse not Thine (when wee complaine) wee weepe, 
For thee the glistring Walles of Heauen doe keepe, 
Beyond the Planets Wheeles, aboue that Source 
Of Spheares, that turnes the lower in its Course , 
Where Sunne doth neuer set, nor vgly Night 

150 Euer appeares in mourning Garments dight : 
Where Boreas stormie Trumpet doth not sound, 
Nor Cloudes in Lightnings bursting, Minds astound. 
From Cares cold Climates farre, and hote Desire, 
Where Time is banish! d, Ages ne're expire : 

155 Amongst pure Sprights enuironed with Beames, 
Thou think' st all things below to bee but Dreames, 
And joy'st to looke downe to the azur'd Banes 
Of Heauen, indented all with streaming Starres ; 
And in their turning Temples to behold, 

160 In siluer Robe the Moone, the Sunne in Gold, 
Like young Eye-speaking Louers in a Dance, 
With Majestie by Turnes retire, aduance, 
Thou wondrest Earth to see hang like a Ball, 
Clos'd in the gastly Cloyster of this All : 

165 And that poore Men should proue so madly fond, 
To tosse themselues for a small Foot of Ground. 
Nay, that they euen dare braue the Powers aboue, 
From this base Stage of Change, that cannot moue. 
All worldly Pompe and Pride thou seest arise 

170 Like Smoake, that scattreth in the emptie Skies. 
Other Hilles and Forrests, other sumptuous Towres, 
Amaz'd thou find' st, excelling our poore Boivres, 
Courts voyde of Flatter ie, of Malice Mindes, 

147 ACDNO. boue highest source 148 ACDNO. in his Course 
154 ACDNO. Where Time's exild, and Ages 15S ACDNO. Mong purest 
Spirits 156 ACDNO. Thou thinks [NO. think'st] all things below, t' 
haue bene but dreames 157 ACD. And joyes 1B8 ACDNO. Of Heauen, 
poudred with troupes of streaming starres 163 ACD. Thou wonders 
164 NO. mighty Cloyster 166 NO. small spot 17 ° ACDNO. that's 
scattred m NO. Other high Hils and Forrests, other Tow'rs 172 ACD. 
thou finds 


Pleasure which lasts, not such as Reason blindes : 
175 Farre sweeter Songs thou hear'st and Carrolings, 

Whilst Heauens doe dance, and Quire of Angells sings, 
Than moldie Mindes could faine, euen our Annoy 
(7/ it approach that Place) is chang'd in Ioy. 
Rest blessed Spright, rest saciate with the Sight 
180 Of him, whose Beames both dazell and delight, 
Life of all Liues, Cause of each other Cause, 
The Spheare, and Center, where the Minde doth pause : 
Narcissus of himself e, himself e the Well, 
Louer, and Beautie, that doth all excell. 
185 Rest happie Ghost, and wonder in that Glasse, 
Where seene is all that shall be, is, or was, 

r While shall be, is, or was doe passe away, 
And nought remaine but an Eternall Day. 
For euer rest, thy Praise Fame may enroule 

190 In golden Annalles, whilst about the Pole 
The slow Bootes turnes, or Sunne doth rise 
With skarlet Scarf e, to cheare the mourning Skies : 
The Virgines to thy Tombe may Garlands beare 
Of Flowres, and on each Flowre let fall a Teare. 

195 Mceliades sweet courtly Nymphes deplore, 
From Thuly to Hydaspes pearlie Shore. 

175 ACD. More sweeter Songs thou heares NO. Thou sweeter Songs 
dost heare 176 NO. Quires 177 ACD. Then moldie mindes NO. 
Then muddy Minds 178 NO. to Joy 179 NO. Rest blessed soule 
180 ACDNO. (though dazeling) doe delight 185 NO. Rest happy Soule 
188 ACDNO. And nothing be 189 NO. will enroule 190 ACDNO. 
while 193 NO. will Garlands beare m ACDNO. and with each 
flowre 196 A. From ruddy Hesp'rus rising to Aurore 



A Passing Glance, a Lightning long the Skies 
That vsh'ring Thunder dies straight to our Sight, 
A Sparke, of Contraries which doth arise, 
Then drownes in the huge Depthes of Day and Night : 
5 Is this small-Small call'd Life, held in such Price 
Of blinded Wights, who nothing judge aright, 
Of Parthian Shaft so swift is not the Flight 
As Life, that wastes it selfe, and liuing dies. 
! what is humane Greatnesse, Valour, Wit ? 
io What fading Beautie, Riches, Honour, Praise ? 
To what doth serue in golden Thrones to sit, 
Thrall Earths vaste Round, triumphall Arches raise ? 
All is a Dreame, learne in this Princes Fall, 
In whome (saue Death) nought mortall was at all. 

2 NO. Which 3 NO. A Sparke that doth from jarring mixtures 
rise 4 BCD. Then's drown'd in the huge 6 NO. Is this small trifle, 
Life 6 BCDNO. who ne're judge Ought aright 9 BCDNO. Ah 
13 BCD. That all's a Dreame NO. That's all a Dreame 


STay Passenger, see where enclosed lyes, 
The Paragon of Princes, fairest Frame, 
Time, Nature, Place, could show to mortal Eyes 
In Worth, Wit, Vertue, Miracle to Fame : 
5 At lest that Part the Earth of him could clame, 
This Marble holds (hard like the Destinies) 
For as to his braue Spirit, and glorious Name, 
The One the World, the other fills the Skies. 
Th' immortall Amaranthus, princely Rose, 
10 Sad Violet, and that sweet Flowre that beares, 
In Sangvine Spots the Tenor of our Woes, 
Spred on this Stone, & wash it with thy Teares, 
Then go and tell from Gades vnto Inde, 
Thou saw where Earths Perfections were confinde. 

This sonnet, from the "third" edition of Teares on the Death of 
Moeliades, Edinbvrgh, 1614, was not included by Drummond in the 
" Poems." 

2 A. Wits Paragone, and Natures daintiest frame 3 A. Vertues 
faire Temple, Wonder vnto Fame 4 A. In whome was found the best 
Heauen could deuise B. wonder vnto Fame NO. Miracle of Fame 
6 A. Of Elements combind that did arise, 9 A. Arabian odours, 
Mirtles, youthfull Bayes 10 A. Roses, and that sweet flowre that 
mourning beares n A. Spred on this stone, while I these dolefull 
layes 12 A. Sigh forth, and wash it ouer with my teares NO. with 
your Tears u NO. You saw 



Of I 1 T, 

Or Porphyria, 

Or that white Stones 

Paros ajfordes alones r 

Or thofe^ in \^4zurc^> Dyes, 

Which fecme to fcorne the Skif; 

Here Memphis Wonders doe notfet, 

Nor ART EMI SI AS hudge Frame, 

That keepes fo long her Lovers Name. 

Make no great Marble Atlas tremble with Cold, 

To pleafe a vutgare EYE that doth behold'. 

The<jlfufc's,Phcebus,Lov¥.Jjaf(erai[ed of their Tenrcs 

i^f chr jsl all T cmbc to liim, through which his V/orthappeares. 

Plate 15.— Facsimile of Pyramid Poem. From the Poems. 
Edinburgh, 1616. 

5 ABDNO. Or these 10 NO. stoop with Gold " NO. To please 
the Vulgar EYE shall it behold 12 AB. Phoebvs, the Muses, Loue, 
hath raised 13 ABCD. where through his worth appears 

Page 84. 



Spirituall Poems. 




Spirituall Poems. 


TRiumphing Chariots, Statues, Crownes of Bayes, 
Skie-threatning Arches, the Rewards of Worth, 
Workes heauenly wise in sweet harmonious Layes, 
Which Sprights diuine vnto the World set forth : 
5 States, which ambitious Mindes with Blood doe raise 
From frozen Tanais to Sunne-gilded Gauge, 
Giganticke Frames held Wonders rarely strange, 
Like Spiders Webbes, are made the Sport of Dayes. 
All only constant is in constant Change, 
10 What done is, is vndone, and when vndone, 
Into some other Fashion doth it range : 
Thus goes the floting World beneath the Moone, 
Where for (my Minde) aboue Time, Motion, Place, 
Thee raise, and Steps vnknowne to Nature Trace. 

Most of the pieces figuring under the title Vrania or Spirituall 
Poems will be found repeated, with variations, in Flowres of Sion. 

I. 3 NO. Books heavenly -wise 4 NO. Which men divine 5 DNO. 
in bloud 6 DNO. vnto Sunne-burnt Gauge 7 DNO. Gigantall 
Frames 9 D. All's onelie constant in NO. Nothing is constant but 
in 10 DNO. What's done still is vndone 14 NO. Rise up, and 




TOo long I follow'd haue my fond Desire, 
And too long painted on the Ocean Streames : 
Too long Refreshment sought amidst the Fire, 
And hunted Ioyes, which to my Soule were Blames. 
5 Ah ! when I had what most I did admire, 
And seene of Lifes Delights the last Extreames, 
I found all but a Rose hedg'd with a Bryer, 
A Nought, a Thought, a Show of mocking Dreames. 
Hencefoorth on thee mine only Good I'll thinke, 
10 For only thou canst grant what I doe craue, 

Thy Naile my Penne shall bee, thy Blood mine Inke, 
Thy Winding-sheet my Paper, Studie Graue. 
And till that Soule forth of this Bodie flie, 
No Hope 111 haue but only onelie Thee. 


TO spreade the azure Canopie of Heauen, 
And make it twinckle all with Spanges of Gold, 
To place this pondrous Globe of Earth so euen, 
That it should all, and nought should it vphold : 
5 To giue strange Motions to the Planets seuen, 
And Ioue to make so meeke, and Mars so bold, 
To temper what is moist, drie, hote, and cold, 
Of all their larres that sweet Accords are giuen. 
Lord, to thy Wit is nought, nought to thy Might, 
10 But that thou shouldst {thy Glorie laid aside) 
Come basely in Mortalitie to bide, 
And die for them deseru'd eternall Plight, 
A Wonder is, so farre aboue our Wit, 
That Angells stand amaz'd to thinke on it. 

II. 4 DNO. Pursu'd those joyes which to my Soule are Blames 
8 DNO. a Mascarade of Dreames 9 DNO. my onlie Good 13 NO. 
And till my Soule 

III. 2 DNO. And spangle it all with Sparkes of burning Gold 
> 5 DNO. With motions strange t' indue the Planets seuen 6 NO. so 

mild 9 DNO. Lord to thy Wisedome's nought 12 D. And die for 



COme forth, come forth, yee blest triumphing Bands, 
Faire Citizens of that immortall Towne : 
Come see that King, who all this All commands, 
Now (ouercharg'd with Loue) die for his owne. 
Looke on those Nailes which pierce his Feete and Hands, 
What a strange Diademe his Browes doth crowne ? 
Beholde his pallide Face, his Eyes which sowne, 
And what a Throng of Thieues him mocking stands : 
Come forth yee Empyrean Troupes, come forth, 
Preserue this sacred Blood, which Earth adornes, 
Gather those liquide Roses from his Thornes, 
O ! to bee lost they bee of too much Worth : 

12 3 1 

For Streames, Iuice, Baulme, they are, which quench, 

2 3 

killes, charmes, 

12 3 1 2 3 

Of God, Death, Hell, the Wrath, the Life, the Harmes. 


SOule, which to Hell wast thrall, 
Hee, hee for thine Offence 
Did suffer Death, who could not die at all : 
soueraigne Excellence, 
Life of all that Hues, 
Eternall Bountie, which all Goodnesse giues. 
How could Death mount so hie ? 
No Wit this Point can reach, 
Faith onely doth vs teach, 
For vs hee died, at all who could not die. 

IV. This sonnet is wanting in DNO. 
I. This piece is wanting here in DNO. 



IF with such passing Beautie, choise Delights, 
The Architect of this great Round did frame 
This Pallace visible, which World we name ? 
(Yet siilie Mansion but of mortall Wights) 
5 How many Wonders ? what amazing Lights, 
Must that triumphing Seate of Glorie claime ? 
Which doth transcend all this great Alls high Hights, 
Of whose bright Sunne ours heere is but a Beame ? 
O blest Abode ! 6 happie dwelling Place ! 
10 Where visiblie th' Inuisible doth raigne, 
Blest People, who doe see true Beauties Face, 
With whose darke Shadowes Hee but Earth doth daigne, 
All loy is but Annoy, all Concord Strife, 
Match'd with your endlesse Blisse, and happie Life. 


LOue which is heere, a Care 
That Wit and Will doth marre, 
Vncertaine Truce, and a most certainc Warre, 
A shrill tempestuous Winde, 
5 Which doth disturbe the Minde, 
And like wilde Waues our Dessignes all commoue 
Among those Sprights aboue 
Which see their Makers Face, 
It a Contentment is, a quiet Peace, 
10 A Pleasure voide of Grief e, a constant Rest, 
Eiernall loy, which nothing can molest. 

V. This sonnet is wanting here in DNO. 
II. This piece is wanting here in DNO. 



WHat haplesse Hap had I now to bee borne, 
In these vnhappie Times, and dying Dayes, 
Of this else-doating World ? when Good decayes, 
Loue is quench'd forth, and Vertue held a Scorne. 
5 When such are onely priz'd, by wretched Wayes 
Who with a golden Fleece them can adorne, 
When Auarice, and Lust, are counted Praise, 
And noble Mindes Hue Orphane-like forlorne. 
Why was not I into that golden Age, 
10 When Gold yet was not knowne ? and those blacke Artes, 
By which base Mortalles vildely play their Parts, 
And staine with horride Actes Earths stately Stage ? 
Then to haue beene, Heauen, it had beene my Blisse, 
But blesse mee now, and take mee soone from this. 


THrise happie hee, who by some shadie Groue 
Far re from the clamarous World doth Hue his owne, 
Though solitare, yet who is not alone, 
'But doth conuerse with that Eternall Loue. 
5 O how more sweet is Birds harmonious Mone, 
Or the soft Sobbings of the widow'd Doue ? 
Than those smoothe Whisp'rings neare a Princes Throne, 
Which Good make doubtfull, doe the Euill approue. 
O how more sweet is Zephyr es wholesome Breath, 
10 And Sighs perfum'd, which doe the Flowres vnfold, 
Tnan that Applause vaine Honour doth bequeath ? 
How sweete are Streames to Poyson drunke in Gold ? 
The World is fuU of Horrours, Falshoods, Slights, 
Woods silent Shades haue only true Delights. 

VI. x DNO. had I for to be borne 3 DNO. Of this now doting 
World 4 D. Loue's quite quench't forth NO. Love's quite extinct 
8 DNO. And brauest Mindes 9 NO. borne in that golden Age 10 O. 
was not yet u D. By which Base Mondaines NO. By which base 
Worldlings vilely 12 DNO. With Horrid Acts stayning 13 NO. To 
have been then, O heaven, 't had been my bliss 

VII. This sonnet is wanting here in DNO. 



WHy (Worldlings) doe ye trust fraile Honours 
Dreames ? 
And leane to guilded Glories which decay ? 
Why doe yee toyle to registrate your Names 
In ycie Columnes, which soone melt away ? 
5 True Honour is not here, that Place it claimes, 
Where blacke-brow'd Night doth not exile the Day, 
Nor no farre-shining Lampe diues in the Sea, 
But an eternall Sunne spreades lasting Beames. 
There it attendeth you, where spotlesse Bands 
10 Of Sprights, stand gazing on their soueraigne Blisse, 
Where Yeeres not hold it in their cankring Hands, 
But who once noble euer noble is : 

Looke home, lest he your weakned Wit make thrall, 
Who Edens foolish Gard'ner earst made fall. 


AStrea in this Time 
Now doth not Hue, but is fled vp to Heauen ; 

Or if shee Hue, it is not without Crime 

That shee doth vse her Power, 

And shee is no more Virgine, but a Whoure, 

Whoure prostitute for Gold : 

For shee doth neuer holde her Ballance euen, 

And when her Sword is rolVd, 

The Bad, Injurious, False, shee not oWethrowes, 
But on the Innocent lets fall her Blowes. 

VIII. This sonnet is wanting here in DNO. 
III. This piece is wanting here in DN. 



WHat serues it to bee good ? Goodnesse by thee 
The Holy-wise is thought a Foole to bee, 
For thee the Man to Temperance inclin'de, 
Is held but of a base and abject Minde, 
5 The Continent is thought for thee but cold, 
Who yet was good, that euer died old ? 
The pittifull who others feares to kill, 
Is kill'd himselfe, and Goodnesse doth him ill : 
The meeke and humble Man who cannot braue, 
10 By thee is to some Giants Brood made Slaue. 

Poore Goodnesse, thine thou to such Wrongs sett'st forth, 
That 6 ! I feare mee, thou art nothing worth : 
And when I looke to Earth, and not to Heauen, 
Ere I were turned Doue, I would bee Rauen. 


GReat GOD, whom wee with humble Thoughts adore, 
Eternall, infinite, almightie King, 
Whose Pallace Heauen transcends, whose Throne before 
Archangells serue, and Seraphins doe sing : 

5 Of Nought who wrought all that with wondring Eyes 
Wee doe behold within this spacious Round, 
Who mak'st the Roches to rocke, and stand the Skies, 
At whose Command the horride Thunders sound : 
Ah ! spare vs Wormes, weigh not how wee (alas) 

io Euill to our Selues, against thy Lawes rebell, 

Wash off those Spots, which still in Conscience Glasse 
(Though wee bee loth to looke) wee see too well. 
Deseru'd Reuenge, b doe not, doe not take, 
If thou reuenge, what shall abide thy Blow ? 

15 Passe shall this World, this World which thou didst make, 
Which should not perish till thy Trumpet blow. 

IX. This sonnet is wanting here in DN. 
I. This piece is wanting here in DNO. 


For who is hee whom Parents Sinne not staines ? 

Or with his owne Offence is not defiVd ? 

Though Iustice Ruine threaten, Iustice Raines 
20 Let Mercie hold, and bee both just and milde. 

Lesse are our Faults farre farre than is thy Loue, 

! what can belter seeme thy Pow'r diuine ? 

Than those who Euill deserue thy Goodnesse proue ? 

And where thou thunder shouldst there fair e to shine? 
25 Then looke, and pittie, pittying forgiue 

Vs guiltie Slaues, or Seruants, at thy Will, 

Slaues, if (alas) thou look'st how wee doe Hue, 

Or doing nought at all, or doing ill : 

Of an vngratefull Minde a foule Effect, 
30 But if thy Gifts, which largely heretofore 

Thou hast vpon vs powrd, thou doest respect ? 

Wee bee thy Seruants, nay, than Seruants more, 

Thy Children, yes, and Children dearly bought, 

But what strange Chance vs of this Lot bereaues ? 
35 Vile Rebells, 6 ! how basely are wee brought ? 

Whom Grace made Children, Sinne hath now made Slaues : 

Sinne Slaues hath made, but let thy Grace Sinne thrall, 

That in our Wrongs thy mercie may appear e, 

Thy Wisdome not so weake is, Pow'r so small, 
40 But thousand Wayes they can make Men thee feare. 
Wisdome bound-lesse ! admirable Grace ! 

Grace, Wisdome, which doe dazell Reasons Eye, 

And could Heauens King bring from his placelesse Place, 

On this infamous Stage of Woe, to die : 
45 To die our Death, and with the sacred Streame 

Of Bloud, and Water, gushing from his Side, 

To expiate that Sinne, and deadly Blame, 

Contriued first by our First Parents Pride. 

Thus thy great Loue, and Pittie, heauenly King, 
50 Loue, Pittie, which so well our Losse preuents, 

Could euen of Euill it selfe all Goodnesse bring, 

And sad Beginnings cheare with glad Euents. 

Loue, and Pittie ! ill knowne of these Times, 


Loue and Pittie ! carefull of our Blisse, 
55 Goodnesse ! with the hainous Actes and Crimes 
Of this blacke Age, that almost vanquish' d is : 
Make this excessiue ardour of thy Loue, 
So warme our Coldnesse, so our Liues renew, 
That wee from Sinne, Sinne may from vs remoue, 
6o Wit may our Will, Faith may our Wit subdue. 
Let thy pure Loue burne vp all mortall Lust, 
That Band of Ills which thralles our better Part, 
And fondly makes vs worship fleshly Dust, 
In stead of Thee in Temple of our Heart. 
65 Grant, when at last the Spright shall leaue this Tombe, 
This loathsome Shop of Sinne, and Mansion blinde, 
And (calVd) before thy Roy all Seat doth come, 
It may a Sauiour, not a Iudge, thee finde. 



To the Author. 

THe sister Nymphes who haunt the Thespian Springs, 
Ne're did their Gifts more liberally bequeath 
To them who on their Hills suck'd sacred Breath, 
Than vnto thee, by which thou sweetly sings. 
5 Ne're did Apollo raise on Pegase Wings 
A Muse more neare himselfe, more farre from Earth, 
Than thine ; if Shee doe weepe thy Ladies Death, 
Or sing those sweet-sowre Panges which Passion brings. 
To write our Thoughts in Verse doth merite Praise, 
10 But those our Verse to gild in Fictions Ore, 
Bright, rich, delightfull, doth deserue much more, 
As thou hast done these thy delicious Layes : 
Thy Muses Morning (doubtlesse) doth bewray 
The neare Approach of a more glistring Day. 

D. Murray. 

In DNO, this sonnet is entitled " Mceris," and bears no signature. 

1 DNO. which haunt 2 DNO. More liberally their Gifts ne're did 
bequeath 4 DN. Then vnto thee 7 DNO. Then [NO. Than] thine ; 
whether thou weepe 8 DNO. that Passion brings 10 NO. But thus the 
Verse 12 DNO. melodious Layes 13 DNO. No doubt thy Muses 
faire Morne doth bewray u NO. The swift Approach 





Plate 16.— Facsimile of Half-Title Page. From the Poems. 
Edinburgh, 1616. 

Page 97. 




The Statue of Medvsa. 

OF that Medvsa strange, 
Who those that did her see in Rockes did change, 
None Image caru'd is this ; 
Medvsas selfe it is, 
5 For whilst at Heat of Day, 
To quench her Thirst Shee by this Spring did stay, 
Her curling Snakes beholding in this Glasse, 
Life did Her leaue, and thus transform 'd Shee was. 

The Trojane Horse. 

A Horse I am, whom Bit, 
Raine, Rod, nor Spurre, not feare ; 
When I my Riders beare, 
Within my Wombe, not on my Backe they sit : 
5 No Streames I drinke, nor care for Grasse, nor Come, 
Arte mee a Monster wrought, 
All Natures Workes to scorne : 
A Mother, I was without Mother borne, 
In End all arm'd my Father I forth brought : 
10 What thousand Ships, and Champions of Renowne, 
Could not doe free, I captiue raz'd a Towne. 

I. 3 NO. No Image 5 DNO. For while 7 DNO. Her hideous 
Head beholding 8 DNO. Her Senses fail'd 

II. x DNO. who bit 2 D. doth not feare NO. do not feare 6 D. 
nor cares DNO. or Come n DO. free, captiu'd I raz'd a Towne 
N. free, captiv'd I raz'd Troy's Town 



A Louers Heauen. 

THose Starves, nay Sunnes, which turne 
So stately in their Spheares, 
And daz'ling doe not burne, 
The beautie of the Morne 
Which on those Cheekes appeares, 
The Harmonie which to that Voyce is giuen, 
Make mee thinke yee are Heauen : 
If Heauen yee bee ? 6 that by pow'rfull Charmes 
I Atlas were, to holde you in mine Armes ! 

Deepe Impression of Loue. 

WHom raging Dog doth bite, 
Hee doth in Water still 
That Cerberus Image see ; 

Loue Mad {perhaps) when he my Heart did smite, 
{More to dissemble III) 
Transform' 'd himselfe in thee, 
For euer since thou present art to mee : 
No Spring there is, no Floud, nor other Place, 
Where I {alas) not see thy heauenly Face. 

III. x O. nay Sun 5 DNO. these cheeks 7 NO. Makes me thinke 
you are 8 O. you be 9 DNO. / Atlas were enfolded in those [NO. 
your] armes 

IV. In NO, the title runs " Deep impression of Love to his Mistris." 
1 NO. Whom a mad Dog 3 NO. That mad Dogs Image 6 DNO. his 

III c NO. to thee 7 DNO. For thou art present euer since to mee 


The Pourtrait of Mars and Venvs. 

FAire Paphos wanton Queene, 
Not drawne in White and Red, 
Is truely heere, as when in Vvlcans Bed 
She was of all Heauens laughing Senate seene : 
5 Gaze on her Haire, and Eine, 
Her Browes, the Bowes of Loue, 
Her backe with Lillies spred : 
And yee should see her tume, and sweetly moue, 
But that Shee neither so will doe, nor darre, 
10 For feare to wake the angrie God of Warre. 

Iolas Epitaph. 

HEre deare Iolas lies, 
Who whilst hee liu'd in Beautie did surpasse 

That Boy, whose heauenly Eyes 

Brought Cypris from aboue, 
5 Or him till Death who look'd in watrie Glasse, 

Euen Iudge the God of Loue : 

And if the Nymphe once held of him so deare, 

Dorine the faire, would heere hit shed one Teare, 

Thou shouldst (in Natures Scorne) 
10 A purple Flowre see of this Marble borne. 

V. 8 NO. Ye also might perceive her tume and move 

VI. 5 DNO. Or him to death 


Vpon the Death of a Linnet. 

IF cruell Death had Eares, 
Or could bee pleas' d by Songs ? 
This wing'd Musician liu'd had many yeares, 
And Chloris mine had neuer wept these Wrongs : 
5 For when it first tooke Breath, 
The Heauens their Notes did vnto it bequeath : 
And {if that Samians sentence bee found true) 
Amphion in this Body liu'd of new : 
But Death, for that hee nothing spares, nought heares, 
10 As hee doth Kings, it kill'd, 6 Grief e ! 6 T eares I 

Alcons Kisse. 

WHat others at their Eare 
Two Pearles Camilla at her Nose did weare, 
Which Alcon who nought saw 
{For Loue is blinde) robb'd with a prettie Kisse, 
But hauing knowne his Misse, 
And felt what Ore hee from that Mine did draw, 
When shee to charge againe him did desire, 
Hee fled, and said, foule Water quenched Fire. 

VII. In DNO, the title reads *' On the Death of a Linnet." 

2 D. Or could beene pleas' d 3 NO. had liv'd 4 DNO. And Nisa mine 
7 DNO. be true 8 NO. liv'd anew 9 NO. But Death, who nothing 
spares, and nothing heares 10 NO. kill'd it 

VIII. 7 NO. to come again did him 



WHilst with audacious Wings 
I sprang those airie Wayes, 
And filVd {a Monster new) with Dread and Feares, 
The feathred People, and their Eagle Kings : 
5 Dazel'd with Phoebus Rayes, 
And charmed with the Musicke of the Spheares, 
When Pennes could moue no more, and Force did faile, 
I measur'd by a Fall these loftie Bounds ; 
Yet doth Renowne my Losses counteruaile, 
10 For still the Shore my braue Attempt resounds : 
A Sea, an Element doth beare my Name, 
Who hath so vaste a Tombe in Place, or Fame ? 


MY Wanton, weepe no more 
The losing of your Cherries, 
Those, and far re sweeter Berries, 
Your Sister in good store 
Hath, spred on Lips, and Face : 
Be glad, kisse but with me, and hold your peace. 

IX. 1 DNO. While 2 NO. / cleav'd 7 NO. When Quills 8 D. 
with a fall NO. Though down I fell from Heavens high azure bounds 
12 DNO. What Mortalls Tombe 's so great in Place or Fame 

X. 5 DNO. Hath in her Lips and Face 6 NO. Be glad, kiss her 


Of Thavmantia, beholding her selfe in a Marble. 

WOrld, wonder not that I 
Engraue thus in my Brest 
This Angell Face, which mee bereaues of Rest : 
Since things euen wanting Sense, cannot denie 
To lodge so deare a Guest, 
And this hard Marble Stone 
Receiues the same, and hues, but cannot grone. 

Loue suffereth no Parasol. 

THose Eyes, deare Eyes, bee Spheares, 
Where two bright Sunnes are rolVd, 
That f aire Hand to behold, 
Of whitest Snowe appeares : 
5 Then while yee coylie stand, 
To hide from mee those Eyes, 
Sweet, I would you aduise 

To choose some other Fanne than that white Hand : 
For if yee doe, for Trueth most true this know, 
10 That Sunnes ere long must needes consume war me Snow. 

XL In DNO, the title runs " On his Lady, beholding her selfe in 
a Marble." 

2 D. Engraue deepe NO. Keep in my brest engraven 3 NO. That 
Angels face hath me of Rest bereaven 4 DNO. Sith [NO. See] Dead and 
senselesse thinges can not denie 6 NO. Ev'n this 

XII. In DNO, the title runs " Loue suffers no Parasol." 

8 D. then that 10 NO. Those Suns 


Sleeping Beautie. 

O Sight ! too dearely bought, 
Shee sleepes, and though those Eyes, 
Which lighten Cupids Skies, 
Bee clos'd, yet such a Grace 
Enuironeth that Place, 

That I through Wonder to grow faint am brought , 
Sunnes, if ecclips'd yee haue such Power diuine ? 
! how can I endure you when yee shine ? 

The qualitie of a Kisse. 

THe Kisse with so much Strife, 
Which I late got [sweet Heart) 
Was it a Signe of Death, or was it Life ? 
Of Life it could not bee, 
For I by it did sigh my Soule in thee, 
Nor was it Death, Death doth no Ioy impart : 
Thou silent stand' st, ah ! what thou didst bequeath, 
To mee a dying Life was, liuing Death. 

XIII. 7 O. you have 8 DNO. What power haue I to thole [NO. 
t' endure] you when yee [NO. you] shine 

XIV. 6 D. Ne could 't bee Death N. Ne was it Death * D. Thou 
Silent standes, ah ! what thou did bequeath NO. what did'st thou 
bequeath 8 D. A dying Life was to mee liuing Death NO. A dying 
Life to me, or living Death ? 


Of Phillis. 

1JV Peticote of Greene, 
Her Haire about her Eine, 
Phillis beneath an Oake 
Sate milking her faire Flocke : 
5 Among that strained Moysture (rare Delight !) 
Her Hand seem'd Milke in Milke, it was so white. 

Kisses desired. 

T Hough I with strange Desire 
To kisse those rosie Lips am set on Fire, 

Yet will I cease to craue 

Sweet Touches in such store, 
5 As hee who long before 

From Lesbia them in thousands did receaue ; 

Heart mine, but once mee kisse, 

And I by that sweet Blisse 

Euen sweare to cease you to importune more, 
10 Poore one no Number is : 

Another Word of mee yee shall not heare, 

After one Kisse, but still one Kisse, my Deare. 

Of Dametas. 


Ametas dream 'd he saw his Wife at Sport, 

And found that sight was through the hornie Port. 

XV. In DNO, the title is " Phillis." 

4 O. Sat 5 DNO. Mong [NO. 'Mongst] that sweet strained moisture 
rare delight 

XVI. 4 NO. Sweet kisses 6 DNO. In thousands them from Lesbia 
7 NO. Sweet heart but once 8 O. Bless 

XVII. In DN, the title runs " Dametas Dreame," and in O, 
" Dametas's Dream." 


The Canon. 

WHen first the Canon from her gaping Throte, 
Against the Heauen her roaring Sulphure shote, 
loue wak'ned with the Noyce, and ask'd with Wonder, 
What mortall Wight had stollen from him his Thunder, 
His christall Towres hee fear'd, but Fire, and Aire, 
So deepe, did stay the Ball from mounting there. 


Apelles enamour' d of Campaspe, 
Alexanders Mistresse. 

POore Painter, whilst I sought 
To counterfaite by Arte 

The fairest Frame that Nature euer wrought, 

And hauing limm'd each Part 
5 Except her matchlesse Eyes : 

Scarce on those Twinnes I gaz'd, 

As Lightning falles from Skies, 

When straight my Hand benumm'd was, Mind amaz'd 

And ere that Pincell halfe them had exprest, 
10 Loue all had drawne, no, grauen within my Brest. 

XVIII. 3 NO. did aske with wonder 6 NO. So high did stay 

XIX. ! DNO. while 3 DNO. which Nature 6 O. on those Suns 
8 DNO. my Hand grew weake, my Minde amaz'd 10 D. Loue had 
them drawen NO. Love had them drawn, no, grav'd them in my Brest 



ON Starres shall I exclame y 
Which thus my Fortune change ? 

Or shall I else reuenge 

Vpon my selfe this shame ? 
5 Vnconstant Monarch, or shall I thee blame ? 

Who lefst Apelles proue 

The sweet Delights of Alexanders Loue ; 

No, Starres, my selfe, and thee, I all forgiue, 

And joye that thus I Hue : 
10 Kings know not Beautie, hence mine was despis'd, 

The Painter did, and mee hee dearly priz'd. 

Vnpleasant Musicke. 

IN Fields Ribaldo stray' d, 
Mayes Tapestrie to see, 
And hearing on a Tree 
A Cuckooe sing, hee sigh'd, and softly said, 
Loe, how (alas) euen Birds sit mocking mee. 

XX. 5 O. Inconstant 6 DNO. lets 9 DNO. A fid Ioyes 10 DNO. 
Of thee, blind King, my Beautie was despis'd 11 D. For that thou 
didst not know it, now it's pvyz'd NO. Thou did'st not know it, now 
being known 'tis priz'd 

XXI. 4 DNO. sigh'd to himself e and said 


A lest. 

IN a most holy Church, a holy Man, 
Vnto a holy Saint, with Visage wan, 
And Eyes like Fountaines, mumbled forth a Prayer, 
And with strange Words, and Sighes, made blacke the Aire : 
5 And hauing long so stay'd, and long long pray'd, 
A thousand Crosses on himselfe hee lay'd, 
Then with some sacred Beads hung on his Arme, 
His Eyes, his Mouth, Brest, Temples did hee charme. 
Thus not content {strange Worship hath none End) 
10 To kisse the Earth at last hee did pretend, 
And bowing downe, besought with humble Grace 
An aged Woman neare to giue some Place : 
Shee turn'd, and turning vp her Pole beneath, 
Said, Sir, kisse heere, for it is all but Earth. 


FLouds cannot quench my Flames, ah ! in this Well 
I burne, not drowne, for what I cannot tell. 

To Thavmantia singing. 

IS it not too too much 
Thou late didst to mee proue, 

A Basiliske of Loue ? 

And didst my Wits bewitch ? 
5 Vnlesse (to cause more Harme) 

Made Syrene too thou with thy Voyce mee charme ? 

Ah ! though thou so my Reason didst controule, 

That to thy Lookes I could not proue a Mole : 

Yet doe mee not that Wrong, 
10 As not to let mee turne Aspe to thy Song. 

XXII. 7 DNO. And with 8 DNO. His Eyes, his mouth, his Temple 
Brest did charme 9 DNO. hath no end 13 NO. her Hole 
XXIV. This piece is wanting in DN. 


Of her Dog. 

WHen her deare Bosome clips 
That litle Curre, which faunes to touch her Lips, 
Or when it is his Hap 
To lie lapp'd in her Lap, 
5 ! it growes Noone with mee, 
With hotter-pointed Beames 
My burning Planet streames, 
What Rayes were earst, in Lightnings changed bee : 
When oft I muse, how I to those Extreames 
10 Am brought, I finde no Cause, except that shee 
In Loues bright Zodiacke hauing trac'd each Roome, 
To fatall Syrius now at last is come. 

A Kisse. 

HArke happie Louers, harke, 
This first and last of Ioyes, 
This Sweetner of Annoy es, 
This Nectare of the Gods, 
5 Yee call a Kisse, is with it selfe at ods : 
And halfe so sweet is not 
In equall Measure got, 
At Light of Sunne, as it is in the Darke, 
Harke, happie Louers, harke. 

XXV. In DNO, the title runs " His Ladies Dog." 

7 NO. / burne, then [O. than] those are which the Sun forth streames 
8 NO. When piercing lightning his Rayes call'd may be 9 NO. And as 
I muse how I to those extreames 12 NO. To the hot Dog-star now is come 

XXVI. 6 NO. You call 



F for one only Home 

Which Nature to him gaue, 
So famous is the noble Vnicorne ? 
What Praise should that Man haue, 
Whose Head a Ladie braue 
Doth with a goodlie Paire at once adorne ? 


Of Amintas. 

OVer a christall Source 
Amintas layde his Face, 
Of popling Streames to see the restlesse Course : 
But scarce hee had o'reshadowed the Place, 

5 When {spying in the Ground a Childe arise, 
Like to himselfe in Stature, Face, and Eyes) 
Hee rose o'rejoy'd, and cried, 
Deare Mates approch, see whom I haue descried, 
The Boy of whom strange Stories Shepheards tell 

10 (Oft-called Hylas) dwelleth in this Well. 



Ome, Ladies wed, some loue, and some adore them, 
I like their wanton Sport, then care not for them. 

XXVIII. In DNO, the title is " A pleasant deceate." [NO. " deceit."] 
2 DNO. Iolas layde 3 NO. Of purling Streames s NO. When in the 

water he a Child espies 6 NO. So like himselfe 7 D. Hee rose all 
glad NO. That glad he rose 

XXIX. 2 D. cares 


Vpon a Glasse. 

IF thou wouldst see Threedes purer than the Gold, 
Where Loue his Wealth doth show ? 
But take this Glasse, and thy faire Haire behold : 
If Whitenesse thou wouldst see more white than Snow, 

5 And reade on Wonders Booke ? 
Take but this Glasse, and on thy Forehead looke : 
Wouldst thou in Winter see a crimsin Rose, 
Whose Thornes doe hurt each Heart ? 
Looke but in Glasse how thy sweet Lips doe close : 

10 Wouldst thou see Planets which all Good impart, 
Or Meteores diuine ? 

But take this Glasse, and gaze vpon thine Eine : 
No, Planets, Rose, Snow, Gold, cannot compare 
With you, deare Eyes, Lips, Browes, and amber Haire. 

Of a Bee. 

AS an audacious Knight 
Come with some Foe to fight, 
His Sword doth brandish, makes his Armour ring : 
So this prowde Bee {at home (perhaps) a King) 
Did buzzing flie about, 
And [Tyrant) after thy faire Lip did sting : 
Champion strange as stout ! 
Who hast by Nature found, 
Sharp e Armes, and Trumpet shrill, to sound, and wound. 

XXX-XXXI. These pieces are wanting in DN. 


Of that same. 

ODoe not kill that Bee 
That thus hath wounded thee, 
(Sweet) it was no Despight, 
But Hue did him deceaue : 
For when thy Lips did close, 
Hee deemed them a Rose, 
What wouldst thou further craue ? 
Hee wanting Wit, and blinded with Delight, 
Would faine haue kiss'd, but Mad with Ioy did bite. 

Of a Kisse. 

AH ! of that cruell Bee 
Thy Lips haue suckt too much : 
For when they mine did touch, 
I found that both they hurt, and sweetned, mee : 
This by the Sting they haue, 
And that they of the Honey doe receaue : 
Deare Kisse, else by what Arte 
Couldst thou at once both please and wound my Heart ? 

Idmon to Venvs. 

IF (Acidalias Queene) 
Thou quench in mee thy Torch, 
And with the same Thaumantias Heart shall scorch ; 
Each Yeere a Mirtle Tree 
Heere I doe vow to consecrate to thee : 
And when the Meads grow greene, 
I will of sweetest Flowrs 
Weaue thousand Garlands, to adorne thy Boivrs. 

XXXII-XXXIII. These pieces are wanting in DN. 
XXXIV. This piece is wanting in DN. 
3 O has the misprint some for same 


A Louers Plaint. 

IN midst of silent Night, 
When Men, Birds, Beasts, doe rest, 

With Loue, and Feare possest 

To Heauen, and Flore, / count my heauie Plight. 
5 Againe with roseate Wings 

When Morne peepes forth, and Philomela sings, 

Then Voyde of all Relief e, 

Doe I renew my Grief e : 

Day followes Night, Night Day, whilst still I proue, 
10 That Heauen is deafe, Flore carelesse of my Loue, 

His Firebrand. 

LEaue Page that slender Torch, 
And in this gloomie Night 
Let only shine the Light 

Of Loues hote Brandon, which my Heart doth scorch 
5 A Sigh, or Blast of Wind, 
My Teares, or Droppes of Raine, 
May that at once make blinde ; 
Whilst this like .Etna burning shall remaine. 

Daphnis Vow. 

WHen Sunne doth bring the Bay 
From the Hesperian Sea, 
Or Moone her Coach doth rolle 
Aboue the Northerne Pole, 
5 When Serpents can not hisse, 
And Louers shall not kisse : 
Then may it be, but in no time till then, 
That Daphnis can forget his Orienne. 

XXXV-XXXVII. These pieces are wanting in DN. 


Of Nisa. 

NIsa Palemons Wife him weeping told, 
Hee kept not Grammer Rules, now beeing old 
For why (quoth shee) Position false make yee, 
Putting a short thing where a long should bee. 

Beauties Idea. 

WHo would Perfections faire Idea see, 
Let him come looke on Chloris sweet with mee ; 
White is her Haire, her Teeth white, white her Skinne, 
Blacke bee her Eyes, her Eye-browes, Cupids Inne : 
5 Her Lockes, her Body, Hands, doe long appeare, 
But Teeth short, Bellie short, short either Eare ; 
The Space twixt Shoulders, Eyes, is wide, Browes wide, 
Straite Waste, the Mouth straite, and her virgine Pride : 
Thicke are her Lips, Thighs, with Banckes swelling there, 
10 Her Nose is small, small Fingers, and her Haire, 
Her sugred Mouth, her Cheekes, her Nailes, bee red, 
Litle her Foot, Pap title, and her Hed. 

Such Venus was, such was the Flame of Troy, 
Such Chloris is, my Hope, and only Ioy. 

XXXVIII. In DNO, the title is " Nisa." 

XXXIX. 2 NO. On pretty Cloris let him look with me 6 DNO. 
But Teeth short, short her Wombe, and either Eare 7 DNO. Eyes are 
wide, Brow wide [In both copies ofD," are " before " wide " is corrected, 
in Drummond's hand, to " is "] 12 NO. Brest little 13 DNO. that 
Flame 14 DNO. mine Hope 


Cratons Death. 

A Midst the Wattes profound, 
Farre farre from all Relief e, 
The honest Fisher Craton, ah I is drownd 
Into his litle Skife : 

The Boords of which did serue him for a Beare, 
So that to the blacke World when hee came neare, 
Of him no Waftage greedie Charon got, 
For hee in his owne Boat 
Did passe that Floud, by which the Gods doe swearc. 

Armelins Epitaph. 

NEare to this Eglantine 
Enclosed lies the milke-white Armeline : 
Once Chloris onlie Ioye, 
Now onlie her annoy ; 
5 Who enuied was of the most happie Swaines, 
That keepe their Flocks in Mountaines, Dales, or Plaines 
For oft shee bare the wanton in her Arme, 
And oft her Bed, and Bosome did he warme : 
Now when vnkindlie Fates did him destroy, 
10 Blest Dog he had the Grace, 

With Teares for him that Chloris wet her Face. 

XL. The title in DNO, is " Lalvs Death." [O. " Lalus's Death."] 
3 DNO. Lalus 4 D. Into this little Skife N. Shut this little Skiffe 

O. Shut in his little Skiff 6 DNO. So that when he to the blacke World 

came neare 7 DNO. Of him no Siluer 

XLI. 7 DNO. she bore 9 NO. unkinder Fates n NO. That Cloris 

for him wet with teares her Face 


The Statue of Venvs sleeping. 

BReake not my sweet Repose 
Thou, whom free Will, or Chance, brings to this Place, 
Let Lids these Comets close, 
doe not seeke to see their shining Grace : 
For when mine Eyes thou seest, they thine will blinde, 
And thou shalt parte, but leaue thy Heart behinde. 

Lillas Prayer. 

LOue, if thou wilt once more 
That I to thee retume, 

(Sweete God) make me not burne 

For quiuering Age, that doth spent Dayes deplore 
5 Nor doe not wound my Hart 

For some inconstant Boy, 

Who ioyes to hue, yet makes of Loue a Toy : 

But (ah) if I must prooue thy golden Dart ? 

Of grace let mee finde 
10 A sweet young Louer with an aged Mind. 

Thus Lilla pray'd, and Idas did replie 

(Who heard) Deare haue thy wish, for such am I. 

XLII. This piece is wanting in DN. 
XLIII. 5 NO. Nor do thou wound 


The vnkindnesse of Rora. 

WHilst sighing forth his Wrongs, 
In sweet } though dolefull Songs, 
Alexis seekes to charme his Roras Eares, 
The Hills are heard to nione, 
To sigh each Spring appeares, 

Trees, euen hard Trees, through Rine distill their Teares, 
And soft growes euery Stone : 

But Teares, Sighes, Songs, can not f aire Rora moue, 
Prowde of his Plaints shee glories in his Loue. 

Antheas Gift. 

THis virgine Locke of Haire 
To Idmon Anthea giues, 
Idmon for whom shee Hues, 

Though oft shee mixe his Hopes with cold Despaire : 
This now, but absent if hee constant proue, 
With Gift more deare shee vowes to meet his Loue. 

XLIV. In DNO, the title runs " The Crueltie of Rora." 

3 NO. Alexis sought 4 NO. were heard 5 NO. appeared 6 DNO. 
Trees, hardest Trees through Rine [O. Rind] distille [NO. distill' d] their 
Teares [Some copies of F, read "heard" instead of "hard"] 7 NO. 
grew 8 D. Onely faire Rora, Teares, Sighs, Songs not moue NO. 
But Teares, nor Sighs, nor Songs could Rora move 9 D. For Shee 
doth joye to see him plaine and loue NO. For she rejoyced at his plaint 
and love 

XLV. This piece is wanting in DN. 

In some copies of F, Anthea in the title is corrected in ink to 
Antheas by Drummond himself. 


To Thavmantia. 

COme, let vs Hue, and hue, 
And kisse, Thaumantia mine, 
I shall the Elme bee, bee to mee the Vine, 
Come let vs teach new Billing to the Done : 
5 Nay, to augment our Blisse, 
Let Soules euen other kisse, 
Let Loue a Worke-man bee, 
Vndoe, distemper, and his Cunning proue, 
Of Kisses three make one, of one make three : 
10 Though Moone, Sunne, Starr es, bee Bodies farre more bright, 
Let them not vaunt they match vs in Delight. 



His deare (though not respected) Earth doth hold 
One for his Worth, whose Tombe should bee of Gold. 


Of LlDA. 

Vch Lida is that who Her sees 

Through Enuie, or through Loue straight dies. 

XLVI. This piece is wanting in DN. 

5 O. Bless 

XLVIII. The title in DNO is " Lida." 



A Wish. 

TO forge to mightie Ioue 
The Thunder-bolts aboue, 
Nor on this Round below 
Rich Midas Skill to know, 
And make all Gold I touch, 
I doe not craue, nor other Cunning such : 
For all those Arte9 bee vnderneath the Skie, 
I wish but Phillis Lapidare to bee. 

A Louers Day and Night. 

B Right Meteore of Day, 
For mee in Thetis Bowres for euer staye : 
Night, to this flowrie Globe 
Nere show for mee thy starre-embrodred Robe ; 
5 My Night, my Day, doe not proceede from you 
But hang on Miras Browe : 

For when shee lowres, and hides from mee her Eyes, 
Midst clearest Day I finde blacke Night arise, 
When smyling shee againe those Twinnes doth turne, 
10 In midst of Night I finde Noones Torch to burne. 

XLIX. 6 NO. Do I desire, it is for me too much 7 D. Of all the 
Arts NO. Of all the Arts practis'd beneath the Skie 8 NO. J would 
but Phillis Lapidarie be 

L. This piece is wanting in DN. 


The Statue of Adonis. 

WHen Venus longst that Plaine 
This Parian Adon saw, 
Shee sigh'd, and said, What Power breakes Destines Law, 
World mourned Boy, and makes thee Hue againe ? 
5 Then with stretcht Armes shee ran him to enfold : 
But when shee did behold 

The Bore, whose snowie Tushes did threaten Death, 
Feare closed vp her Breath : 
Who can but grant then that these Stones doe Hue, 
10 Sith this bred Lotie, and that a Wound did giue ? 

Clorvs to a Groue. 

OLd Oake, and you thicke Groue, 
I euer shall you hue, 
With these sweet-smelling Briers, 
For Briers, Oake, Groue, yee crowned my Desires, 
5 When vnderneath your Shade 
I left my Woe, and Flore her Maidenhead. 

A Couplet encomiasticke. 

12 3 12 3 

LOue, Cypris, Phoebus, will feede, decke, and crowne, 
12 3 1 2 

Thy Heart, Browes, Verse, with Flames, with Flowrs, 


An other. 

Hy Muse not-able, full, il-lustred Rimes, 
Make thee the Poet-y- Aster of our Times, 

LI.— LIV. These pieces are wanting in DN. 



The Rose. 

FLowre, which of Adons Blood 
Sprang, when of that chare Flood 
Which Venus wept, an other white was borne, 
The sweet Cynarean Youth thou right dost show : 
5 But this sharp e-pointed Thome, 
Which doth (so prowde) about thy Crimsin grow, 
What doth it represent ? 

Boares Tuskes (perhaps) his snowie Flancke which rent 
Show of Showes ! of vnesteemed Worth, 
io Which both what kill'd, and what was kilVd sett' st forth. 

To a Riuer. 

SIth shee will not that I 
Show to the World my Ioy, 
Thou who oft mine Annoy 

Hast heard (deare Flood) tell Thetis Nymphettes bright, 
That not a happier Wight 
Doth breath beneath the Skie : 
More sweet, more white, more faire, 
Lips, Hands, and amber Haire, 
Tell none did euer touch ; 
A smaller, daintier Waste 
Tell neuer was embrac't : 
But Peace, sith shee forbids thou telVst too much. 

LV. 4 DNO. thou liuely showes 6 DNO. So proud about thy Crimsin 
Folds that growes 8 DNO. Boares Teeth (perhaps) his milke-white 
Flanck which rent 9 NO. O show in one of unesteemed Worth 10 D. 
In one that kill'd, and killer setteth forth ! NO. That both the kill'd, and 
killer setteth forth 

LVI. 2 N. She to the world my Ioy 4 DNO. tell Thetis if thou can 
5 DNO. a happier Man 9 D. did neuer [In the Oxford copy of D, 
"neuer" is corrected to "euer" in Drummond's hand.] 12 D. thou 
tells NO. since she forbids thee tell too much 


Thais Metamorphose. 

IN Briareus hudge 
Thais wish'd shee might change 
Her Man, and pray'd him her ef ore not to grudge, 
Nor fondly thinke it strange : 
For if (said shee) I might the Parts dispose, 
I wish you not an hundreth Armes, nor Hands, 
But hundreth Things, like those, 
With which Priapus in our Garden stands. 


Vpon a Baye Tree, not long since growing in the 
"Ruines of Virgils Tombe. 

THose Stones which once had Trust 
Of Maros sacred Dust, 

Which now of their first Beautie spoylde are seene, 

That they due Praise not want, 
5 Inglorious and remaine, 

A Delian Tree (faire Natures only Plant) 

Now courtes, and shadowes with her Tresses greene : 

Sing 16 Paean, yee of Phoebus Trame, 

Though Enuie, Auarice, Time, your Tombes throw downe, 
10 With Maiden Lawrells Nature will them crowne. 

LVII. 1 NO. Into 3 DNO. and pray'd him not there at to grudge 
6 D. a hundreth 7 NO. hundred 

LVIII. This piece is wanting in DN. 



THen Death thee hath beguild 
Alectos first borne Child ? 
Thou who didst thrall all Lawes 

Then against Wormes canst not maintaine thy Cause ? 
Yet Wormes [more iust than thou) now doe no Wrong, 
Sith all doe wonder they thee spar'd so long, 
For though from Life but lately thou didst passe, 
Ten Springs are gone since thou corrupted was. 

Floras Flowre. 

VEnus doth hue the Rose, 
Apollo those deare Flowrs 
Which were his Paramours, 
The Queene of sable Skies, 
The subtile Lunaries, 
But Flore likes none of those, 
For faire to Her no Flowre seemes saue the Lillie : 
And why ? because one Letter turnes it P. 

Melampvs Epitaph. 

A LI that a Dog could haue 
The good Melampus had : 
Nay, hee had more than what in Beasts wee cra%ie, 
For hee could playe the Braue, 
And often like a Thraso sterne goe Mad : 
And if yee had not seene, but heard him barke, 
Yee would haue swome hee was your Parish Clarke. 

LIX. 3 DNO. Then thou who thrall'd 4 DNO. Now against Wormes 
cannot maintaine thy Cause 6 NO. Since 7 NO. thou didst but lately 
8 NO. Twelve Springs 

LX. This piece is wanting in N. 

7 D. To Her for no Flowre faire seemes but the Lillie 8 D. because on 
letter makes't a P 

LXI. This piece is wanting in DN. 


Kalas Complaint. 

KAla old Mopsus Wife, 
Kala with fairest Face, 
(For whom the Neighbour Swaines oft were at Strife) 
As shee to milke her milke-white Flocke did tend, 
5 Sigh'd with a heauie Grace, 

And said, What Wretch like mee doth leade her Life ? 
- / see not how my Taske can haue an End : 
"All Day I draw these streaming Dugs in Fold, 
All Night mine emptie Husbands soft and cold. 

The Happinesse of a Flea. 

HOw Happier is that Flea 
Which in thy Brest doth playe, 
Than that pied Bulterflie 

Which courtes the Flame, and in the same doth die ? 
5 That hath a light Delight 

(Poore Foole) contented only with a Sight, 

When this doth sporte, and swell with dearest Food, 

And if hee die, hee Knight4ike dies in Blood. 

Of that same. 

POore Flea, then thou didst die, 
Yet by so fair e a Hand, 
That thus to die was Destine to command : 
Thou die didst, yet didst trie 
5 A Louers last Delight, 
To vault on virgine Plaines, Her kisse, and bite : 
Thou diedst, yet hast thy Tombe 
Betweene those Pappes, b deare and stately Roome ! 
Flea, happier farre, more blest, 
10 Than Phoenix burning in his spicie Nest. 

LXII. 4 DNO. her snowie Flocke 7 DNO. shall haue 
LXIII. This piece is wanting in DN. 
LXIV. ThisTpiece is wanting in DN. 
4 O. didst die 


Linas Virginitie. 

WHo Lina weddeth, shall most happie bee, 
For hee a Maide shall finde, 
Though Maiden none bee shee, 
A Girle, or Boy, beneath her Waste confinde : 
5 And though bright Ceres Lockes bee neuer shorne 
Hee shall be sure this Yeere to lacke no Corne. 

Love naked. 

ANd would yee (Louers) knots) 
Why Loue doth naked goe ? 
Fond, waggish, changeling Lad, 
Late whilst Thaumantias Voyce 
5 Hee wondring heard, it made him so rejoyce, 
That hee o'rejoy'd ran Mad : 
And in a franticke Fit threw Cloathes away, 
And since from Lip, and Lap hers can not stray e. 


W Retched Niobe / am, 
Let Wretches reade my Case, 
Not such who with a Teare ne're wet their Face ; 
Seuen Daughters of mee came, 
5 And Sonnes as many, which one fat all Day 
(Orb'd Mother /) tooke away : 
Thus reft by Heauens vnjust, 

Grief e turn'd mee Stone, Stone too mee doth entombe, 
Which if thou dost mistrust, 
io Of this hard Rocke but ope the flintie Wombe, 
And heere thou shalt finde Marble, and no Dust. 

LXV.-LXVII. These pieces are wanting in DN. 


Change of Loue. 

ONce did I weepe, and grone, 
Drinke Teares, draw loathed Breath, 
And all for Lone of one 
Who did affect my Death : 
But now (Thankes to Disdaine) 
/ Hue relieu'd of Paine, 
For Sighs, I singing goe, 
I burne not as before, no, no, no, no. 

Wilde Beautie. 

IF all but Yce thou bee, 
How dost thou thus mee burne ? 
Or how at Fire which thou dost raise in mee 
(Sith Yce) thy selfe in Streames dost thou not turne ? 
But rather (plaintfull Case !) 
Of Yce art Marble made to my Disgrace : 
Miracle of Loue ! not heard till now, 
Cold Yce doth burne, and hard by Fire doth grow. 

Constant Loue. 

Time makes great States decay, 
Time doth Mayes Pompe disgrace, 
Time drawes deepe Furrowes in the fairest Face, 
Time Wisdome, Force, Renowne, doth take away, 
Time doth consume the Yeeres, 

Time Changes workes in Heauens elernall Spheares : 
Yet this fierce Tyrant which doth all deuoure, 
To lessen Loue in mee shall haue no Power. 

LXVIII.— LXX. These pieces are wanting in DN. 



To Chloris. 

Ee Chloris, how the Cloudes 


Tilte in the azure Lists, 
And how with Stygian Mists 
Each homed Hill his giant Forehead shroudes, 

5 Ioue thundreth in the Aire, 

The Aire growne great with Raine, 
Now seemes to bring Deucalions Dayes againe 
I see thee quake, come, let vs home repaire, 
Come hide thee in mine Armes, 

10 If not for Loue, yet to shunne greater Harmes. 


THe Goddesse that in Amathus doth raigne, 
With siluer Tramells, and S aphire- colour d Eyes, 
When naked from her Mothers christall Plaine 
Shee first appear' d vnto the wondring Skies ; 
5 Or when (the golden Apple to obtaine) 
Her blushing Snowes amazed Idas Trees, 
Did neuer looke in halfe so faire a Guise 
As shee heere drawne, all other Ages Staine. 
God what Beauties ! to inflame the Soule, 
io And hold the wildest Hearts in Chaines of Gold, 
Faire Lockes, sweet Face, Loues stately Capitole, 
Deare Necke, which dost that heauenly Frame vp-hold : 
If Vertue would to mortall Eyes appeare, 
To rauish Sense, shee would your Beautie weare. 

LXXI. This piece is wanting in DN. 

LXXII. This piece is wanting in O. In DN, the title runs " ON 
THE POVRTRAIT of the Countesse of Perthe." 

6 N. Snow 10 DN. the hardest Hearts 12 D. doth N. Pure Neck 
which doth 


Vpon that same. 

IF Heauen, the Starres, and Nature, did her grace 
With all Perfections found the Moone aboue, 
And what excelleth in this lower Place, 
Did place in her, to breede a World of Loue ? 
5 If Angells Gleames shine on her fairest Face ? 
Which make Heauens Ioy on Earth the Gazer proue ? 
And her bright Eyes {the Orbs which Beautie moue) 
Doe glance like Phoebus in his glorious Race ? 
What Pincell paint ? what Colour to the Sight 
10 So sweet a Shape can show ? the blushing Morne 
The Red must lend, the m\]kie-Way the White, 
And Night the Starres, which her rich Crowne adorne, 
To draw her right : But then that all agree, 
The Heauen, the Table, Zeuxis loue must bee. 

LXXIII. This sonnet is wanting in O, and bears no title in DN. 

4 N. Found place in her 8 DN. As Phoebvs dazell 9 DN. what 
Colour n D. must len 13 D. To draw her right ; Then to make 
all agree N. To draw her right then, and make all agree 


Vpon that same, drawne with a Pansie. 

WHen with braue Arte the curious Painter drew 
This heauenly Shape, the Hand why made hee beare 
With golden Veines that Flowre of purple Hue, 
Which followes on the Planet of the Yeare ? 
Was it to show how in our Hemispheare 
Like him shee shines ? Nay, that Effects more true 
Of Power, and Wonder doe in her appeare, 
Whilst hee but Flowres, shee doth braue Minds subdue ? 
Or would hee else to Vertues glorious Light 
Her constant Course make knowne ? or is it hee 
Doth paralell her Blisse with Clytias Plight ? 
Right so, and thus, hee reading in her Eye 
Some woefull Louers End, to grace his Graue, 
For Cypresse Tree this mourning Flowre her gaue. 

Vpon that same. 

IF Sight bee not beguilde ? 
And Eyes right playe their Part ? 
This Flowre is not of Arte, 
But is faire Natures Child : 
And though when Phoebus from vs is exilde, 
Shee doth not locke her Leaues, his Losse to mone, 
No Wonder, Earth hath now moe Sunnes than one. 

LXXIV. This piece is wanting in O. In D, the title runs " on 
that same drawen with a Pansee," and in N, " On that same drawn 
with a Pencill." 

8 DN. While He but Flowres, and She doth Mindes subdue 10 DN. 
or is't that He 13 N. Some Lovers end, to grace what he did grave 

LXXV. This piece is wanting in O. In DN, the title is 

4 DN. But's fairest Natures Child 6 DN. And though when Titans 
from our World cxild 7 D. findes now moe Sunes then one N. finds 
now more Suns 


Thirsis in Dispraise of Beautie. 

THat which so much the doating World doth prise, 
Fond Ladies only Care, and sole Delight, 
Soone-fading Beautie, which of Hues doth rise, 
Is but an abject Let of Natures Might ; 
5 Most woefull Wretch, whom shining Haire and Eyes, 
Leade to Loues Dungeon, traitor d by a Sight, 
Most woefull : for hee might with greater Ease 
Hells Portalls enter, and pale Death appease. 

As in delicious Meads beneath the Flowres, 
10 And the most wholsome Herbes that May can show, 
In christall Curies the speckled Serpent lowres, 
As in the Apple [which most fair e doth grow) 
The rotten Worme is clos'd, which it deuoures, 
As in gilt Cups with Gnossian Wine which flow, 
15 Oft Poyson pompously doth hide its Sowres : 

So Lewdnesse, Falshood, Mischief e, them aduance, 
Clad with the pleasant Rayes of Beauties Glance. 

Good thence is chas'd, where Beautie doth appeare, 

Milde Lowlinesse with Pittie from it flie, 
20 Where Beautie raignes as in their proper Spheare, 

Ingratitude, Disdaine, Pride, all descrie, 

The Flowre, and Fruit which Vertues Tree should beare, 

With her bad Shadowe Beautie maketh die : 
Beautie a Monster is, a Monster hurld 
25 From angrie Heauen, to scourge this lower World. 

As Fruits which are vnripe, and sowre of Taste, 
To bee confecfd more fit than sweet wee proue, 
For Sweet in Spight of Care themselues will waste, 
When they long kept, the Appetite doe moue : 

LXXVI. This piece is wanting in DN. 


30 So in the Sweetnesse of his Nectare, Loue 
The foule confects, and seasons for his Feaste : 
Sowre is farre better which wee sweet may make, 
Than sweet which sweeter Sweetnesse will not take. 

Foule may my Ladie bee, and may her Nose 
35 (A Tanarife) giue Vmbrage to her Chinne ; 

May her gay Mouth (which shee no Time may close) 
So wide be, that the Moone may turne therein, 
May Eyes, and Teeth, bee made conforme to those, 
Eyes set by Chance, and white, Teeth blacke and thinne 
40 May all what seene is, and is hidde from Sight, 
Like vnlo these rare Parts bee framed right. 

I shall not feare thus though shee stray e alone, 
That others Her pursue, entice, admire, 
And though shee sometime counter faite a Grone, 
45 / shall not thinke her Heart feeles vncouth Fire, 
I shall not stile Her rueihlesse to my Mone, 
Nor prowde, disdainfull, wayward to Desire : 

Her Thoughts with mine will hold an equall Line t 
I shall bee hers, and shee shall all bee mine. 

Evrymedons Praise of Mira. 

GEmme of the Mountaines, Glorie of our Plaines, 
Rare Miracle of Nature, and of Loue, 
Sweet Atlas, who all Beauties Heauens sustaines, 
No, Beauties Heauen, where all her Wonders moue, 
The Sunne from East to West who all doth see, 
On this low Globe sees nothing like to thee. 

LXXVI. 31 O. of his Feast 

LXXVII. This piece is wanting in DN. 


One Phoenix only liu'd ere thou wast borne, 
And Earth but did one Queene of Loue admire, 
Three Graces only did the World adorne, 
10 But thrise three Muses sung to Phcebus Lyre, 

Two Phoenixes bee now, Loues Queenes are two, 
Foure Graces, Muses ten, all made by you. 

For those Perfections which tJw bounteous Heauen 
To diuerse Worlds in diuerse Times assign' d, 
15 With thousands more, to thee at once were giuen, 
Thy Body faire, more faire they made thy Mind : 
And that thy like no Age should more behold, 
When thou wast fram'd they after brake the Mold. 

Sweet are the Blushes, on thy Face which shine, 

20 Sweet are the Flames, which sparkle from thine Eyes, 

Sweet are his Torments, who for thee doth pine, 

Most sweet his Death, for thee who sweetly dies, 

For if hee die, hee dies not by Annoy, 

But too much Sweetnesse and aboundant Ioy. 

25 What are my slender Layes to show thy Worth ? 

How can base Words a thing so high make knowne ? 

So wooden Globes bright Starr es to vs set forth ; 

So in a Christall is Sunnes Beautie showne : 
More of thy Praises if my Muse shotdd write, 
30 More Loue and Pittie, must the same indite ? 

Thavmantia at the departure of Idmon. 

FAire Diane, from the Right 
Of Heauens first Orbe who chearst this lower Place, 
Hide now from mee thy Light, 
And pittying my Case, 
5 Spread with a Skarfe of Clouds thy blushing Face. 

LXXVIII. This piece is wanting in DN. 


Come with your dolefull Songs, 
Nights sable Birds, which plaine when others sleepe, 
Come, solemnize my Wrongs, 
And Consort to mee keepe, 
10 Sith Heauen, Earth, Hell, are set to cause mee weepe. 

This Grief e yet I could beare, 
If now by Absence I were only pinde, 
But ah ! worse Euill I feare, 
Men absent proue vnkinde, 
15 And change (vnconstant like the Moone) their Minde. 

If Thought had so much Power 
Of thy Departure, that it could mee slaye ? 
How will that vgly Houre 
My feeble Sense dismay e ? 
20 Farewell sweet Heart, when I shall heare thee say, 

Beare Life, sith thou must goe, 
Take all my loy and Comfort hence with thee, 
And leaue with mee thy Woe, 
Which vntill I thee see, 
25 Nor Time, nor Place, nor Change shall take from mee. 


Erycine at the departure of Alexis. 

Nd wilt thou then, Alexis mine, depart ? 

And leaue these flowrie Meads, and christall 
Streames ? 
These Hills as greene as great with Gold and Gemmes, 
Which courte thee with rich Treasure in each Part ? 
Shall nothing hold thee ? not my loy all Heart, 
That burstes to lose the Comfort of thy Beames ? 
Nor yet this Pipe which wildest Satyres tames ? 

LXXIX. This piece is wanting in DN. 
8 O. the Comforts 


Nor Lambkins Wayling ? nor old Dorus Smart ? 

ruethlesse Shepheard, Forrests strange among 
10 What canst thou else hut fearfull Dangers finde ? 

But ah ! not thou, but Honour doth mee Wrong ; 

cruell Honour ! Tyrant of the Mind, 
This said sad Erycine, and all the Flowres 
Empearled as shee went, with Eyes salt Showres. 

Alexis to Damon. 

THe Loue Alexis did to Damon beare, 
Shall witness' d bee to all the Woods, and Plaines, 
As singulare, renown'd by neighbouring Swaines, 
That to our Relicts Time may Trophees reare : 
5 Those Madrigals wee sung amidst our Flockes, 
With Garlands guarded from Apollos Beames, 
On Ochells whiles, whiles neare Bodotrias Streames, 
Are registrate by E echoes in the Rockes. 
Of forraine Shepheards bent to trie the States, 
10 Though I (Worlds Guest) a Vagabond doe stray e, 
Thou mayst that Store, which I esteeme Suruaye, 
As best acquainted with my Soules Conceits : 
What euer Fate Heauens haue for mee design'd, 
I trust thee with the Treasure of my Mind. 

LXXX. In DNO, this piece is entitled " Alexis," and does not 
occur at this place. 

5 D. we song 7 N. On Ochelles, whiles neare Bodotrias Streames 
O. Bodotrian 8 D. By Ecchoes are resounded from the Rockes NO. 
The Ecchoes did resound them from the Rocks u DNO. Thou may 



Forth Feasting 

Reprinted from the Edition of 1618, 
and Collated with that of 1617. 






<Jlt A f E S T I E. 

Flumino-> fen fer tint ipfas* 


Printed by Andro Hart, i 617. 

Plate 17.— Facsimile of Title-Page. 

Page 139. 

To his sacred Majestic 

F, in this Storme of joy and pompous 

This Nymphe (great King) come euer 

Thee so neare 
That Thy harmonious Eares Her Accents 

Giue Pardon to Her hoarse and lowlie Song : 
5 Faine would Shee Trophees to Thy Vertues reare, 
But for this statlie Task Shee is not Strong, 
And Her Defects Her high Attempts doe wrong, 
Yet as Shee could shee makes Thy Worth appeare. 
So in a Mappe is showen this flowrie Place ; 
10 So wrought in Arras by a Virgines Hand 

With Heauen and blazing Starres doth Atlas stand, 
So drawen by Chare-coale is Narcissus Face : 
Shee maye Aurora be to some bright Sunne 
Which maye perfect the Day by her begunne. 

This sonnet appeared for the first time in " The Mvses 
Welcome to the High and Mightie Prince Iames." Edin- 
burgh, m.dc.xviii. 

2 NO. doth come to Thee so neare 13 NO. She like the Mom may be 
to 14 NO. The Day to perfect that's by her begun 




To the Kings most 

excellent Majesty. 

Hat blustring Noise now interrupts my 

Sleepe ? 
What echoing Shouts thus cleaue my 

chrystal Deep ? 
And call mee hence from out my watrie 
Court ? 

What Melodie, what Sounds of Ioy and Sport, 
Bee these heere hurl'd from eu'rie neighbour Spring ? 
With what lowd Rumours doe the Mountaines ring ? 
Which in vnusuall Pompe on tip-toes stand, 
And (full of Wonder) ouer-looke the Land ? 

In NO, the poem is entitled " The River of FORTH FEASTING : 
A Panegyrick to the High and Mighty Prince, James, King of Great 
Brittaine, France, and Ireland." 

The text here adopted is that of The Muses Welcome, a collection 
of verse in honour of James sent out by John Adamson in 1618, to 
which Drummond contributed, with a few alterations, his poem of 
Forth Feasting, which had already seen the light in the previous year 
with the title-page here reproduced. 

3 NO. And seems [O. seem] to call me from 5 NO. Are convey 'd 
hither from each Night-borne [O. neighbouring] Spring 



Whence come these glittring Throngs, these Meteors 

10 This golden People set vnto my Sight ? 

Whence doth this Praise, Applause, and Loue, arise ? 
What Load-starre east- ward draweth thus all Eyes ? 
Am I awake ? or haue some Dreames conspir'd 
To mocke my Sense with Shadowes much desir'd ? 

15 Stare I that liuing Face, see I those Lookes, 
Which with Delight wont to amaze my Brookes ? 
Doe I behold that Worth, that Man diuine, 
This Ages Glorie, by these Bankes of mine ? 
Then true what long I wish'd in vaine ? 

20 That my much-louing Prince is come againe ? 
So vnto Them whose Zenith is the Pole 
When sixe blacke Months are past the Sunne doeth rolle : 
So after Tempest to Sea-tossed Wights 
Faire Helens Brothers show their chearing Lights : 

25 So comes Arabias Meruaile from her Woods, 
And farre farre off is seene by Memphis Floods, 
The feather'd Syluans Clowd-like by her flie, 
And with applauding Clangors beate the Skie, 
Nyle wonders, Seraps Priests (entranced) raue, 

30 And in Mygdonian Stone her Shape ingraue ; 
In lasting Cedars marke the joyfull Time 
In which Apollos Bird came to their Clime. 

Let Mother Earth now deckt with Flowres bee seene, 
And sweet-breath'd Zephyres curie the Medowes greene : 

35 Let Heauens weepe Rubies in a crimsin Showre, 
Such as on Indies Shores they vse to powre : 
Or with that golden Storme the Fields adorne, 
Which loue rain'd, when his Blew-eyed Maide was borne. 
May neuer Houres the Webbe of Day out-weaue, 

10 NO. glancing in my sight 13 G. And doe I wake 14 NO. with 
what I most desir'd 15 NO. View I 16 NO. were wont t'amaze 19 NO. 
Then find I true 20 NO. My much beloved Prince 24 N. clearing Lights 
25 NO. Arabias wonder [O. Wonders] 28 NO. And with triumphing 
plaudits 29 NO. Nyle marvels 31 G. In golden Leaues write downe 
the joyfull time NO. In lasting Cedars they do marke the Time 
35 NO. Let Heaven 


40 May neuer Night rise from her sable Caue. 
Swell prowd my Billowes, faint not to declare 
Your Ioyes, as ample as their Causes are : 
For Murmures hoarse sound like Arions Harpe, 
Now delicatlie flat, now sweetlie sharpe. 

45 And you my Nymphes, rise from your moyst Repaire, 
Strow all your Springs and Grotts with Lillies faire : 
Some swiftest-footted get her hence and pray 
Our Floods and Lakes, come keepe this Holie-day ; 
What e're beneath Albanias Hills doe runne, 

50 Which see the rising or the setting Sunne, 

Which drinke sterne Gr ampins Mists, or Ochells Snows : 
Stone-rowling Taye, Tine Tortoyse-like that flows, 
The pearlie Don, the Deas, the fertile Spay, 
Wild Neuerne which doth see our longest Day, 

55 Nesse smoaking - Sulphure, Leaue with Mountaines 
Strange Loumond for his rioting Isles renown'd : 
The irish Rian, Ken, the siluer Aire, 
The snakie Dun, the Ore with rushie Haire, 
The Chrystall-streaming Nid, lowd-bellowing Clyd, 

60 Tweed which no more our Kingdomes shall deuide : 
Rancke-swelling Annan, Lid with curled Streames, 
The Eskes, the Solway where they loose their Names, 
To eu'rie one proclaime our Ioyes, and Feasts, 
Our Triumphes ; bid all come, and bee our Guests : 

65 And as they meet in Neptunes azure Hall, 
Bid Them bid Sea-Gods keepe this Festiuall. 
This Day shall by our Currents bee renown'd, 
Our Hills about shall still this Day resound : 
Nay, that our Loue more to this Day appeare, 

70 Let vs with it hence foorth begin our Yeare. 

To Virgins Flowres, to Sunne-burnt Earth the Raine, 
To Mariners faire Winds amidst the Maine : 
Coole Shades to Pilgrimes, which hote Glances burne, 
Please not so much, to vs as Thy Returne. 

47 NO. get them hence 74 NO. Are not so pleasing as thy blest Returne 


75 That Day (deare Prince) which reft vs of thy Sight, 
[Day, no, but Darknesse, and a duskie Night] 
Did fraight our Brests with Sighs, our Eyes with 

Turn'd Minutes in sad Months, sad Months in Yeares : 
Trees left to flowrish, Medowes to beare Flowres, 

80 Brookes hid their Heads within their sedgie Bowres, 
Faire Ceres curst our Fields with barren Frost, 
As if againe shee had her Daughter lost : 
The Muses left our Groues, and for sweete Songs 
Sate sadlie silent, or did weepe their Wrongs ; 

85 Yee know it Meads, yee murmuring Woods it know, 
Hilles, Dales, and Caues, Copartners of their Woe ; 
And yee it know my Streames, which from their Eine 
Oft on your Glasse recieu'd their pearled Brine ; 
O Na'ids deare (said They) Napeas faire, 

90 O Nymphes of Trees, Nymphes which on Hills repaire, 
Gone are those maiden Glories, gone that State, 
Which made all Eyes admire our Hap of late. 
As lookes the Heauen when neuer Starre appeares, 
But slow and wearie shroude them in their Spheares, 

95 While Tithons wife embosomed by Him lies, 
And World doth languish in a drearie Guise : 
As lookes a Garden of its Beautie spoil'd, 
As Wood in Winter by rough Boreas foil'd ; 
As Pourtraicts raz'd of Colours vse to bee : 

100 So lookt these abject Bounds depriu'd of Thee, 
While as my Rills enjoy'd Thy royall Gleames, 
They did not enuie Tibers haughtie Streames, 
Nor wealthie Tagus with his golden Ore, 
Nor cleare Hydaspes which on Pearles doth rore, 

105 Empampred Gauge that sees the Sunne new borne, 

75 NO. which rob'd us 76 G. and a clowdie Night] 77 NO. Did 
fill our Brests [G has the form Sights instead of Sighs] 78 NO. to 
sad Months, sad Months to Yeares 84 O. Sat 85 NO. You know it 
Meads you 87 NO. And you it know 88 NO. pearly Brine 92 NO. 
our Blisse [O. Bless] of late 96 N. in a mournfull Guise 98 NO. As 
Woods 105 NO. Nor golden Gange 


Nor AcheloUs with his flowrie Home, 
Nor Floods which neare Elysian Fields doe fall : 
For why ? Thy Sight did seme to them for all. 
No Place there is so desart, so alone, 

no Euen from the frozen to the torrid Zone, 
From flaming Hecla to great Quincys Lake, 
Which Thine abode could not most happie make. 
All those Perfections which by bounteous Heauen 
To diuerse Worlds in diuerse Times were giuen, 

115 The starrie Senate powr'd at once on Thee, 
That Thou Examplare mightst to Others bee. 

Thy Life was kept till the three Sisters spunne 
Their Threedes of Gold, and then it was begunne. 
With curled Clowds when Skies doe looke most faire, 

120 And no disordred Blasts disturbe the Aire, 
When Lillies doe them decke in azure Gownes ; 
And new-borne Roses blush with golden Crownes ; 
To bode, how calme wee vnder Thee should Hue, 
What Halcyonean Dayes Thy Reigne should giue, 

125 And to two flowrie Diademes Thy right ; 

The Heauens Thee made a Partner of the Light. 
Scarce wast Thou borne, when joyn'd in friendly Bands 
Two mortall Foes with other clasped Hands, 
With Vertue Fortune stroue, which most should grace 

130 Thy Place for Thee, Thee for so high a Place, 
One vow'd thy sacred Brest not to forsake, 
The Other on Thee not to turne her Backe, 
And that Thou more her loues Effects mightst feele 
For Thee shee rent her Sayle, and broke her Wheele. 

135 When Yeeres Thee vigour gaue, O then how cleare 
Did smoothred Sparkles in bright Flames appeare ? 
Amongst the Woods to force a flying Hart, 
To pearce the mountaine- Wolfe with feathred Dart, 
See Faulcons climbe the Clowds, the Foxe ensnare, 

112 NO. Which Thy abode 119 NO. With chequer'd Clouds 123 NO. 
To prove how 134 NO. For Thee she left the Globe, and 137 NO. the 
flying Hart 


140 Out-runne the winde-out-running dcedale Hare, 
To loose a trampling Steede alongst a Plaine, 
And in meandring Gyres him bring againe, 
The Preasse Thee making place, were vulgare Things ; 
In Admirations Aire on Glories Wings 

145 O ! Thou farre from the common Pitch didst rise, 
With Thy designes to dazell Enuies Eyes : 
Thou soughtst to know, this Alls eternall Source, 
Of euer-turning Heauens the restlesse Course, 
Their fixed Eyes, their Lights which wandring runne, 

150 Whence Moone her Siluer hath, his Gold the Sunne, 
If Destine bee or no, if Planets can 
By fierce Aspects force the Free-will of Man : 
The light and spiring Fire, the liquid Aire, 
The flaming Dragons, Comets with red Haire, 

155 Heauens tilting Launces, Artillerie, and Bow, 

Lowd-sounding Trumpets, Darts of Haile and Snow, 
The roaring Element with People dombe, 
The Earth with what conceiu'd is in her Wombe, 
What on Her moues, were set vnto Thy Sight, 

160 Till Thou didst find their Causes, Essence, Might : 
But vnto nought Thou so Thy Mind didst straine 
As to bee read in Man, and learne to raigne ; 
To know the Weight, and Atlas of a Crowne, 
To spare the Humble, Prowdlings pester downe. 

165 When from those pearcing Cares which Thrones inuest, 
As Thornes the Rose, Thou weari'd wouldst Thee rest, 
With Lute in Hand, full of ccelestiall Fire, 
To the Pierian Groues Thou didst retire : 
There, garlanded with all Vranias Flowres, 

170 In sweeter Layes than builded Thebees Towres, 

Or them which charm'd the Dolphines in the Maine, 

Or which did call Euridice againe, 

Thou sungst away the Houres, till from their Spheare 

141 NO. To breath thy fiery Steed on every Plaine 143 NO. and 
vulgar Things 149 NO. Their fixed Lamps m NO. If Fate there be 
or no 153 NO. The light aspiring Fire 157 NO. Elements 164 NO. 
Proud ones tumble down 


Starres seem'd to shoote, Thy Melodie to heare. 

175 The God with golden Haire, the Sister Maides, 
Left, nymphail Helicon, their Tempes Shades, 
To see Thine Isle, heere lost their natiue Tongue, 
And in Thy world-diuided Language sung. 

Who of Thine After-age can count the Deedes, 

180 With all that Fame in Times hudge Annales reedes, 
How by Example more than anie Law, 
This People fierce Thou didst to Goodnesse draw ; 
How while the Neighbour Worlds (tows'd by the Fates) 
So manie Phaetons had in their States, 

185 Which turn'd in heedlesse Flames their burnish' d Thrones, 
Thou (as ensphear'd) kepdst temperate Thy Zones ; 
In Africke Shores the Sands that ebbe and flow, 
The shadie Leaues on Ardennes Trees that grow, 
. Hee sure may count, with all the Waues that meet 

190 To wash the Mauritanian Atlas feet. 

Though crown'd thou wert not, nor a King by Birth, 
Thy Worth deserues the richest Crowne on Earth. 
Search this Halfe Spheare and the opposite Ground, 
Where is such Wit and Bountie to bee found ? 

195 As into silent Night, when neare the Beare 

The Virgine Huntresse shines at full most cleare, 
And striues to match her Brothers golden Light, 
The Hoast of Starres doth vanish in her Sight, 
Arcturus dies, cool'd is the Lyons ire, 

200 Po burnes no more with Phaetontall Fire, 
Orion faints to see his Amies grow blacke, 
And that his flamming Sword hee now doth lacke : 
So Europes Lights, all bright in their Degree, 
Loose all their Lustre paragond with Thee. 

205 By just Discent Thou from moe Kings dost shine, 
Then manie can name Men in all their Line : 

176 NO. Did leave their Helicon, and Tempe's shades 183 NO. (toss'd 
by the Fates) 185 NO. turn'd to 186 NO. keptst 188 G. The speckled 
Flowrs in vnshorne Meads that grow m G. Though Thou wert not 
a crowned King by Birth 193 NO. and the Antartick Ground 202 G. 
his blazing Sword 204 NO. parallel'd with Thee 205 NO. more 20e G. 


What most They toyle to find, and finding hold 
Thou skornest, orient Gemmes, and flattring Gold : 
Esteeming Treasure surer in Mens Brests, 

210 Than when immur'd with Marble, closd in Chests ; 
No stormie Passions doe disturbe thy Mind, 
No Mists of greatnesse euer could Thee blind : 
Who yet hath beene so meeke ? Thou life didst giue 
To Them who did repine to see Thee Hue ; 

215 What Prince by Goodnesse hath such Kingdomes gain'd ? 
Who hath so long his Peoples Peace maintain'd ? 
Their Swords are turn'd in Sythes, in Culters Speares, 
Some giant Post their anticke Armour beares : 
Now, where the wounded Knight his Life did bleed, 

220 The wanton Swaine sits piping on a Reed. 

And where the Canon did I ones Thunder skorne, 
The gawdie Hunts-man windes his shrill-tun'd Home : 
Her greene Lockes Ceres void of feare doth die, 
The Pilgrime safelie in the Shade doth lie, 

225 Both Pan and Pales (carelesse) keepe their Flockes, 
Seas haue no Dangers saue the Winds and Rockes : 
Thou art this Isles Palladium, neither can 
[While Thou art kept] it bee o're-throwne by Man. 
Let Others boast of Blood and Spoyles of Foes, 

230 Fierce Rapines, Murders, Iliads of Woes, 
Of hated Pompe, and Trophsees reared faire, 
Gore-spangled Ensignes streaming in the Aire, 
Count how They make The Scythian them adore, 
The Gaditan the Souldiour of Aurore, 

235 Unhappie Vauntrie ! to enlarge their Bounds, 

Which charge themselues with Cares, their Friends with 

Which haue no Law to their ambitious Will, 
But (Man-plagues) borne are humane Blood to spill : 
Thou a true Victor art, sent from aboue 

217 NO. turn'd to ... to Culters 223 G. Ceres without feare NO. 
Ceres doth to yellow die 22S NO. [Whiles thou dost live] 234 NO. 
and Souldiour 236 NO. Unhappy Boasting ! 238 NO. That charge 
237 NO. Who have 


240 What Others straine by Force to gaine by Loue, 
World-wandring Fame this Prayse to Thee imparts, 
To bee the onlie Monarch of all Hearts. 
They many feare who are of many fear'd, 
And Kingdomes got by Wrongs by Wrongs are tear'd, 

245 Such Thrones as Blood doth raise Blood thro we th downe, 
No Guard so sure as Loue vnto a Crown e. 

Eye of our west erne World, M^rs-daunting King, 
With whose Renowne the Earths seuen Climats ring, 
Thy Deedes not only claime these Diademes, 

250 To which Thame, Liffy, Taye, subject their Streames : 
But to thy Vertues rare, and Gifts, is due, 
All that the Planet of the Yeere doth view ; 
Sure if the World aboue did want a Prince, 
The World aboue to it would take thee hence. 

255 That Murder, Rapine, Lust, are fled to Hell, 
And in their Roomes with vs the Graces dwell, 
That Honour more than Riches Men respect, 
That Worthinesse than Gold doth more effect, 
That Pietie vnmasked showes her Face, 

260 That Innocencie keepes with Power her Place, 
That, long-exil'd Astrea leaues the Heauen, 
And turneth right her Sword, her Weights holds euen, 
That the Satumian World is come againe, 
Are wish'd Effects of Thy most happie Raigne. 

265 That dayly Peace, Loue, Trueth, Delights encrease, 
And Discord, Hate, Fraude, with Incombers cease, 
That Men vse Strength not to shed others Blood, 
But vse their Strength now to doe other Good, 
That Furie is enchain'd, disarmed Wrath, 

270 That (saue by Natures Hand) there is no Death, 
That late grimme Foes like Brothers other loue, 
That Vultures prey not on the harmlesse Doue, 
That Wolues with Lambs doe Friendship entertaine, 
Are wish'd Effects of thy most happie Raigne. 

275 That Towns encrease, That ruin'd Temples rise, 

262 G. And vseth 268 others Good 


And their wind-mouing Vanes plant in the Skies, 
That Ignorance and Sloth hence runne away, 
That buri'd Arts now rowse them to the Day, 
That Hyperion farre beyond his Bed 

280 Doth see, our Lyons rampe, our Roses spred, 
That Iber courtes vs, Tyber not vs charmes ; 
That Rhein with hence-brought Beams his Bosomewarmes, 
That Euill vs feare, and Good vs doe maintaine, 
Are wish'd Effects of Thy most happie Raigne. 

285 O Vertues Patterne, Glorie of our Times, 
Sent of past Dayes to expiate the Crimes, 
Great King, but better farre than thou art greate, 
Whome State not honours, but who honours State, 
By Wonder borne, by Wonder first enstall'd, 

290 By Wonder after to new Kingdomes call'd, 

Young kept by Wonder neare home-bred Alarmes, 
Old sau'd by Wonder from pale Traitours Harmes, 
To bee for this Thy Raigne which Wonders brings, 
A King of Wonder, Wonder vnto Kings. 

295 If Pict, Dane, Norman, Thy smooth Yoke had seene, 
Pict, Dane, and Norman, had thy Subjects beene : 
If Brutus knew the Blisse Thy Rule doth giue, 
Euen Brutus joye would vnder Thee to liue : 
For Thou Thy People dost so dearlie loue, 

300 That they a Father, more than Prince, Thee proue. 
O Dayes to bee desyr'd ! Age happie thrice ! 
If yee your Heauen-sent-Good could duelie prize, 
But yee (halfe-palsie-sicke) thinke neuer right 
Of what yee hold, till it bee from your Sight, 

305 Prize onlie Summers sweet and musked Breath, 
When armed Winters threaten you with Death, 
In pallid Sicknesse doe esteeme of Health, 
And by sad Pouertie discerne of Wealth : 
I see ane Age when after manie Yeares, 

276 Vanes do kisse the Skies 283 NO. That 111 doth feare, and Good 
doth us maintaine 291 NO. from home-bred Alarmes 302 O. If you 
303 NO. But we 304 NO. we hold ... our sight 309 NO. after some 
few yeares 


310 And Reuolutions of the slow-pac'd Spheares, 
These Dayes shall bee to other farre esteem'd, 
And like Augustus palmie Raigne bee deem'd. 
The Names, of Arthur e fabulous Palladines, 
Grau'n in Times surlie Brows in wrinckled Lines, 

315 Of Henries, Edwards, famous for their Fights, 

Their Neighbour Conquests, Orders new of Knights, 

Shall by this Princes Name be past as farre 

As Meteors are by the Idalian Starre. 

If Gray-hair'd ProteiXs Songs the Truth not misse, 

320 And Gray-hair'd Proteus oft a Prophet is, 
There is a Land hence-distant manie Miles, 
Out-reaching Fiction and Atlanticke lies, 
Which (Homelings) from this litle World wee name, 
That shall imblazon with strange Rites his Fame, 

325 Shall, reare him Statues all of purest Gold, 
Such as Men gaue vnto the Gods of old, 
Name by him Fanes, prowd Pallaces, and Towns, 
With some great Flood, which most their Fields renowns. 
This is that King who should make right each Wrong, 

330 Of whome the Bards and mysticke Sybilles song, 
The Man long promis'd, by whose glorious Raigne, 
This Isle should yet her ancient Name regaine, 
And more of Fortunate deserue the Stile, 
Than those where Heauens with double Summers smile. 

335 Runne on (great Prince) Thy Course in Glories Way, 
The End the Life, the Euening crownes the Day ; 
Heape Worth on Worth, and stronglie soare aboue 
Those Heights which made the World Thee first to loue, 
Surmount Thy Selfe, and make thine Actions past 

34° Bee but as Gleames or Lightnings of Thy last, 
Let them exceed them of Thy younger Time, 
As farre as Autumne doth the flowrie Prime. 
Through this Thy Empire range, like Worlds bright Eye, 

311 NO. shall be 'bove other 313 H. The Names of Arthur, fabulous 
Palladines 325 G. Shall raise him 327 NO. Name by him Temples, 
Pallaces 328 NO. great River, which their Fields renowns 330 NO. 
sung 341 NO, exceed those 


That once each Yeare suruayes all Earth and Skie, 

345 Now glaunces on the slow and restie Beares, 
Then turnes to drie the weeping Austers Teares, 
lust vnto both the Poles, and moueth euen 
In the infigur'd Circle of the Heauen. 
O long long haunt these Bounds, which by Thy Sight 

350 Haue now regain'd their former Heate and Light. 

Heere grow greene Woods, heere siluer Brookes doe glide, 
Heere Meadowes stretch them out with painted Pride, 
Embrodring all the Banks, heere Hilles aspire 
To crowne their Heads with the aetheriall Fire : 

355 Hills, Bullwarks of our Freedome, giant Walls, 

Which neuer Fremdlings Slight nor Sword made Thralls ; 
Each circling Flood to Thetis Tribute payes, 
Men heere (in Health) out-liue old Nestors Dayes : 
Grimme Saturne yet amongst our Rocks remaines, 

360 Bound in our Caues, with many Mettald Chaines : 
Bulls haunt our Shades like Ledas Louer white, 
Which yet might breede Pasiphae Delight, 
Our Flocks faire Fleeces beare, with which for Sport 
Endemion of old the Moone did court, 

365 High-palmed Harts amidst our Forrests runne, 

And, not impall'd, the deepe-mouth'd Hounds doe shunne ; 
The rough-foote Hare him in our Bushes shrowds, 
And long-wing'd Haulks doe pearch amidst our Clowds. 
The wanton wood-Nymphes of the verdant Spring, 

370 Blew, Golden, Purple, Flowres shall to Thee bring, 
Pomonas Fruits the Paniskes, Thetis Gyrles 
Thy Thulys Amber, with the Ocean Pearles ; 
The Tritons, Heards-men of the glassie Field, 
Shall giue Thee what farre-distant Shores can yeeld, 

375 The Serean Fleeces, Erythrean Gemmes, 
Vaste Platas Siluer, Gold of Peru Streames, 
Antarticke Parrots, ^Ethiopian Plumes, 
Sabcean Odours, Myrrhe, and sweet Perfumes : 

347 NO. Hurries to both the Poles 356 NO. Which never friends did 
slight 367 NO. Safe in our Bushes 376 N. Waste Platas 


And I my selfe, wrapt in a watch et Gowne, 

380 Of Reedes and Lillies on mine Head a Crowne, 
Shall Incense to Thee burne, greene Altars raise, 
And yearly sing due Pceans to Thy Praise. 

Ah why should Isis only see Thee shine ? 
Is not thy Forth, as well as Isis Thine ? 

385 Though Isis vaunt shee hath more Wealth in store, 
Let it suffice Thy Forth doth loue Thee more : 
Though Shee for Beautie may compare with Seine, 
For Swannes and Sea.-Nymphes with imperiall Rhene, 
Yet in the Title may bee claim'd in Thee, 

390 Nor Shee, nor all the World, can match with mee. 
Now when (by Honour drawne) thou shalt away 
To Her alreadie jelous of thy Stay, 
When in Her amourous Armes Shee doth Thee fold, 
And dries thy Dewie Haires with Hers of Gold, 

395 Much questioning of Thy Fare, much of Thy Sport, 
Much of Thine Absence, Long, how e're so short, 
And chides (perhaps) Thy Comming to the North, 
Loathe not to thinke on Thy much-louing Forth : 
O loue these Bounds, whereof Thy royall Stemme 

400 More then an hundreth wore a Diademe. 
So euer Gold and Bayes Thy Browes adorne, 
So neuer Time may see Thy Race out-worne, 
So of Thine Owne still mayst Thou bee desir'd, 
Of Strangers fear'd, redoubted, and admir'd ; 

405 So Memorie the Praise, so precious Houres 
May character Thy Name in starrie Flowres ; 
So may Thy high Exployts at last make euen, 
With Earth thy Empyre, Glorie with the Heauen. 

388 O. For Swains 389 NO. Yet for the Title 395 NO. Much asking 
400 G. than NO. than an hundred. 






I. Olorus, p. ci. In spite of a diligent search, we have 
been unable to identify, with any degree of certainty, the 
author of these lines. He may possibly be one Thomas 
Cargill, a minor poet of the time, to whom some compli- 
mentary verses are addressed in vol. xiii. of the Hawthorn- 
den MSS. 

I. 2. Aska : the river Esk, which empties itself into the 
Firth of Forth, at Musselburgh. 

II. To the Author, p. ci. This and the following sonnet 
are from the pen of Sir William Alexander (c. 1567-1640), 
Drummond's friend and fellow-bard, about whom more 
particulars will be found in the Notes, as the occasion 

1. 5. Pasiihea : one of the Charites, or Graces, also 
called Aglaia. 

1. 6. The Sword falls from the God of the fift Spheare : 
Mars. The form "fift," which is the normal form, still 
survives in dialects ; the standard form, which first 
appears in the fourteenth century, is due to the analogy 
of fourth. The form without h is not rare with English 
writers of the end of the sixteenth century and even 
later. It is the ordinary Scots form. 

1. 9. And hence it is, that that once Nymphe, now Tree : 

J 57 

158 NOTES. 

the nymph Daphne, daughter of the river-god Peneus, 
was pursued by Apollo, who was charmed by her beauty ; 
as she was on the point of being overtaken by him, she 
prayed for help, and was metamorphosed into a laurel- 
tree (Sctyvrj), which became in consequence the favourite 
tree of Apollo. See Ovid, Metam. i. 12. 

1. 10. Amphrisian Shepheard : Apollo, so called from 
the river Amphrysus in Thessaly, on the banks of which 
he kept the flocks of King Admetus. 

To the Author, p. cii, 1. 6. thou . . . makes : such forms 
of the second person singular of the present indicative are 
not uncommon with the Elizabethans, and are to be 
explained on grounds of euphony principally, though in 
some cases Northern dialect influence played some part. 
In the case of the Scottish poets, however, the Scots form 
of the second person singular of the present indicative 
which invariably ended in -is (s), as it does still in Modern 
Scots, no doubt exercised considerable influence. Such 
forms are very common in Drummond and will not be 
further noted. 

To the Author, p. cii. The author of this graceful 
sonnet is Sir David Murray of Gorthy, one of the Scottish 
court poets of the time, and attached to the household of 
young Prince Henry. He wrote the Tragical Death of 
Sophonisba (161 1) in stanzaic form with rimes ab ab bcc, 
besides some two dozen sonnets. His Poems were re- 
printed in 1823 by the Bannatyne Club. The Hawthorn- 
den MSS. contain a sonnet in memory of a Murray by Sir 
William Alexander, but the Murray in question is John 
Murray, another of the many minor poets connected with 
the court. As this sonnet does not appear to have been 
published except in the folio edition of Drummond's 
Works, and presents some interesting variants, it is here 
appended : 

Mourne Muses mourne, your greatest gallant dyes 
Who free in state did court your sacred traine. 



Your Minnon Murray Albiones sweetest swaine 

Who soar'd so high, now sore neglected lyes. 

If of true worth the world had right esteeme 

His loftie thoughts what bounds could haue confind ? 

But Fortune feard to match with such a mind 

Where all his due, and not her gift had seemd. 

Faire Nymphes whose brood doth stand with Tyme at stryf, 

Dare Death presume heauens darelings thus to daunt ? 

To flattering fancies then in vaine you vaunt 

That you for euer will prolong a lyf. 

He gracd your band, and not your bayes his brow : 

You happie more in him, he not by you. 

1. 7. if Shee doe weepe thy Ladies Death : Miss Cunning- 
ham of Barns, Drummond's betrothed, who died in the 
year 1614 or 1615. 

1. 13. bewray : " reveal," " disclose " ; now obsolete. 
M.E. bewreien, from be and O.E. wregan, " to accuse." 

III. Vpon the incomparable Poems of Mr. William 
Drummond, p. ciii. By Edward Phillips (1630-1696), 
author, and nephew of Milton, by whom he was educated. 
In 1650 Phillips went up to Oxford, but left the university 
after a few months' stay in 1651, without a degree, and 
sought a living in London by means of private tuition 
and hack-work for the booksellers. In 1656 he published 
two novels translated from the Spanish of Juan Perez 
de Montalvan, and in the same year his edition of 
Drummond's Poems, to which he prefixed these verses. 
Two years later he came out as a lexicographer with A New 
World of Words. He is perhaps best known for his 
Theatrum Poetarum (1675), which contains, in the intro- 
ductory " Discourse on Poets and Poetry," criticism of 
such high order, relatively, that Phillips has been suspected 
of repeating as his own appreciations of the English poets 
which he had heard his uncle express. 

1. 32. Monument : " tomb," " sepulchre " ; now obsolete 
in that sense. 

1. 38. Penhurst, or rather Penshurst, the name of the 
country mansion in Kent where Sir Philip Sidney was born. 

160 NOTES. 

De Gulielmo Drummondo, p. civ. By Arthur John- 
ston (1587-1641), a native of Aberdeenshire, famous in his 
day as a writer of Latin verse. For further particulars on 
Johnston see Notes, vol. ii. p. 393. 

1. 1. George Buchanan, born at Killearn in Stirling- 
shire in 1506, probably the most distinguished scholar 
that Scotland has produced, and one of the most brilliant 
humanists of the sixteenth century. In his own day 
Buchanan's great reputation rested mainly on his skill in 
Latin poetry, though he also won great fame by his 
History of Scotland, published just thirty days before his 
death, which took place on the 28th of September, 1582. 
The best Life of George Buchanan is that by Professor 
Hume Brown of Edinburgh (1890). 

To W. D., p. civ. These rather halting lines are by 
John Spotswood or Spottiswood (1565-1637), archbishop 
of St. Andrews, and a Scottish historian of some repute. 
Apart from his political role, Spottiswood is known for his 
History of the Church and State of Scotland from the end 
of the reign of King James VI. (1625), published post- 
humously at London in 1655, with a Life of the 
author. Spottiswood's work, undertaken at the request 
of King James, is not free from partisanship, but is 
nevertheless of considerable value as a counterpoise to 
Calderwood's History, which represents the anti-episco- 
palian side. 

1. 15. Embleme : " to be the emblem of." 

To William Drummond of Hawthornden, p. cvi. 

All we know concerning this authoress is contained in 
Phillips's Theatrum Poetarum (see the edition of 1675, p. 
259), where it is said that she was " a friend of the Poet 
Drummond, of whom, besides many other things in Poetry, 
she hath a large Encomium in verse " — evidently a refer- 
ence to the present poem. We may state that we have 
been unable to trace any of her other poems to which 
Phillips alludes. 

NOTES. 161 

1. 19. The Chian Painter : this is a mistake for 
" Coan Painter.' ' No painter is associated with Chios, 
but the island of Cos or Coos, off the coast of Caria, 
was probably the birthplace of Apelles, the greatest 
painter of antiquity. One of his most famous pictures 
was that of Aphrodite Anadyomene, painted for the 
temple of Asclepius at Cos, which Augustus brought to 
Rome and set up in the temple of Caesar, and which, when 
the lower part was damaged, no painter would attempt 
to restore. 

I. 26. Prankt : " pranced/' The word " prank " as 
an equivalent to prance is now obsolete or dialectal. 

Or a : the river Ore, a tributary of the Leven. 

II. 39-40. An allusion to Drummond's Teares on the 
Death of Mceliades, in which he bewails the death of Prince 
Henry, son of James I. 

IV. Damon, p. cviii. The G. Lauder who signs this 
elegy was the younger son of Lauder of Hatton, Mid- 
lothian, and of Mary, third daughter of Sir Richard 
Maitland of Lethington. He was born about 1600, and 
appears to have entered the English army, in which he 
attained the rank of colonel. Subsequently he migrated 
to Holland and joined the army of the Prince of Orange. 
There he wrote much poetry, mainly patriotic or military 
in tone, of which the best is undoubtedly the present 
memorial poem to Drummond. Several of his pieces have 
been republished by David Laing in Fugitive Scottish 
Poetry, and by Sir Alexander Boswell of Auchinleck in 
Frondes Cadnca (Edinburgh, 1818). 

" Damon " is the poetical name conferred on Drum- 
mond by his fellow-poets of Scotland. 

1. 6. hois' d : " raised " ; now obsolete. 

1. 11. prevent : "to anticipate." The verb in that 
sense is archaic. 

1. 37. Sion's Shepherd : King David. 

1. 94. The Ochils are a range of hills occupying parts 
of the Scottish counties of Stirling, Perth, and Clack- 

1 62 NOTES. 

mannan, and extending from the vicinity of Stirling north- 
east to the Firth of Tay. 

1. in. Rebeck : a medieval instrument of music, 
having three strings and played with a bow ; an early form 
of the fiddle ; O.F. rebec. 

1. 129. Auristella : the poetic name which Drummond 
applies to his mistress in Sonnet xviii of the Poems. 

1. 130. Whose Beauty brav'd the Lemnian's lovely 
Wife : Venus. Lemnos, one of the largest islands in the 
Aegean Sea, was sacred to Hephaestus or Vulcan, who is 
said to have fallen there, when he was hurled down from 
Olympus. Hence the " Lemnian " is Vulcan, whose wife 
was Venus. 

1. 132. Tyrian Purple : Tyre, a city of Phoenicia, was 
famous for the fishery of the murex, from which was 
obtained a purple liquor used in the process of dyeing. 

1. 133. His Blush from that fair Boy Apollo slew : 
Hyacinthus. According to the general story, which is 
probably late and composite, the great beauty of Hya- 
cinthus, son of Amyclas and Diomede, attracted the love 
of Apollo, who killed him accidentally when teaching him 
to throw the discus. See Ovid, Metam. x. 6. 

1. 138. Bodotria : the Firth of Forth. 

1. 142. He made deaf Nilus Dwellers hear his Name : 
borrowed from 1. 58 of Drummond's Teares on the Death 
of Mceliades. 

1. 145. Blew Doris and her Daughters : Doris was the 
daughter of Oceanus and Thetis, and mother of the 

1. 150. Another allusion to Drummond's Teares on the 
Death of Mceliades. 

1. 156. Ascra : at the foot of Mount Helicon, the birth- 
place of the poet Hesiod. 

1. 166. hings : " hangs." Cf. note to 1. no of Song i, 
vol. i. p. 173. 

1. 223. An allusion to Drummond's History of Scotland. 

1. 243. Sir Robert Ay ton, or Aytoun, was born at the 

NOTES. 163 

castle of Kinaldie, near St. Andrews, in 1570, and died in 
London in 1638. He was educated at the University of 
St. Andrews, and in 1603 visited France to complete his 
studies. From there he addressed an elegant Latin 
panegyric to King James, on his accession to the throne of 
England, which won him that monarch's favour ; and 
subsequently occupied several offices at Court. He was a 
poet of some merit both in Latin and English, and was 
one of the first Scotsmen who wrote in English with any 
degree of purity and elegance. 

1. 244. Alexis : the poetical name of Sir William 
Alexander, Drummond's friend. 

1. 263. The " Grotte " alluded to by Lauder is probably 
the cave at the foot of the rock on which the house of 
Hawthornden is built. This and the following line are 
taken almost verbatim from Drummond's Forth Feasting 
(11. 259-60). 

I. 266. Trophonius : a legendary hero of architec- 
ture. By command of Apollo a cult and an oracle were 
dedicated to him as Zeus Trophonius. The oracle was 
situated in a subterranean chamber, into which, after 
various preparatory rites, the inquirers descended to 
receive, under mysterious circumstances, a variety of 
revelations, which were afterwards taken down from their 
lips, and duly interpreted. 

II. 277-278. These two verses are taken from the sonnet 
(in Flowres of Sion) composed by Drummond, in answer to 
one by his friend Sir William Alexander, after Drummond's 
long and serious illness in the year 1620. 

Sir George Mackenzie . . . wrote down this 
Elogy of him, p. cxvi. Sir George Mackenzie (1636- 
1691), who lives in the popular mind as " Bluidy " 
Mackenzie, the criminal prosecutor of the Covenanters.- 
He cultivated literature assiduously, and it is to him that 
we owe the foundation of the Advocates' Library at 
Edinburgh. His works were collected by Ruddiman 
(1716-1722), and include Essay upon Solitude, Vindi- 

1 64 NOTES. 

cation of the Government of Charles II., and Jus 

To the Memory of William Drummond of Haw- 
thornden, p. cxvi. This, and the next two pieces, are by 
David Crawford of Drumsoy (1665-1726), son of David 
Crawford of Drumsoy and of a daughter of James Craw- 
ford of Baidland, a prominent supporter of the anti- 
covenanting persecution in Scotland. He was educated 
at the University of Glasgow and called to the bar, but 
relinquished the lawfor the study of history and antiquities. 
His eminence in these subjects won for him the post of 
Historiographer for Scotland, to which he was appointed 
by Queen Anne. He is best known for his Memoirs of 
the Affairs of Scotland (1706), which purported to be pub- 
lished from an authentic manuscript of the sixteenth 
century, but which Malcolm Laing showed, in 1804, to be 
an impudent forgery. David Crawford also wrote two 
light comedies, and Ovidius Britannicus, or Love Epistles 
in Imitation of Ovid (1703). 


Sonnet i, p. 3, 1. 6. The form begouth of the past tense 
of " to begin," noted in the variants as used in the advance 
issue of the Poems (D), is relatively frequent in Middle 
Scots, and is still found in Modern Scots in the form 
begoud. According to the N.E.D. these forms appear to 
be due to some form-association with couth, could, prob- 
ably through the aphetic form gan, which became in 
Scots can, and was thus identical in form with can, " to be 

1. 8. But (God wot) wist not what was in my Braine 

But (God wot) wot not what they mean by it 

in Sir Philip Sidney's Astrophel and Stella (Son. lxxiv, 


NOTES. 165 

1. 11. moe : " more " ; now obsolete. Moe is applied 
to a greater number of things, while more is used of a 
greater quantity of one thing. 

I. 13. breath : a form of " to breathe " ; now obsolete. 

II. 13-14. breath : Death. According to the pronuncia- 
tion of the time this constitutes a correct rhyme, the value 
of the rhyme-vowel being [e]. 1 Other similar instances 
are Earth : breath (i. p. 52, Son. ii, 11. 13-14), bequeath : 
Death (i. p. 7, Son. ix, 11. 13-14), etc. In this connexion 
it is well to state once for all that the data at our disposal 
do not enable us to feel sure that, in every instance, we 
have succeeded in ascertaining Drummond's pronuncia- 
tion, especially as it is hardly possible to decide how far 
the Scottish pronunciation of the time may have affected 
his rhymes, or how far he made use of eye-rhymes. 

Sonnet ii, p. 4. This sonnet is constructed on the 
pattern of one by Jean Passerat, one of Drummond's 
favourite French models (Les Poesies frangaises de Jean 
Passerat, publiees avec Notice et Notes par Prosper Blanche- 
main, Paris, 1880, i. p. 189), except that in this case the 
resemblance in particulars does not extend beyond the 
first quatrain : 

Ie scay bien qu'icy bas rien ferme ne demeure : 
Qu'il y a des estats vn fatal changement : 
Que tout aura sa fin qui a commencement : 
Et que tout ce qui naist il faut aussi qu'il meure. 

11. 13-14. moue : loue : a correct rhyme, the value of 
the rhyme- vowel being [u]. Cf. Smooke (smoke) : looke 
(ii. p. 54, 11. 135-136), moue : loue (i. p. 24, Son. xxi, 11. 

Sonnet iv, p. 5. This sonnet by antithesis is one of 
the many variations of Petrarch's well-known " Amor mi 
sprona in un tempo ed affrena." 

1. 7. Arabias Bird : the Phoenix. 

1 The symbols in square brackets indicate the phonetic notation. 

1 66 NOTES. 

I. II. Best comp anted when most I am alone suggests 

Seem most alone in greatest company 
in Sonnet xxvii of Astrophel and Stella. 

Sonnet v, p. 5. The general movement and central 
idea is at once seen to be identical with those of Sonnet 
xxx of Astrophel and Stella : 

Whether the Turkish new moon minded be 
To fill his horns this year on Christian coast ? 
How Poles' right King means, without leave of host, 
To warm with ill-made fire cold Muscovy ? 
If French can yet three parts in one agree ? 
What now the Dutch in their full diets boast ? 
How Holland's hearts — now so good towns be lost — 
Trust in the shade of pleasing Orange tree ? 
How Ulster likes of that same golden bit, 
Wherewith my father once made it half tame ? 
If in the Scottish Court be welt'ring yet ? 
These questions, busy wits to me do frame : 

I cumbered with good manners answer do ; 

But know not how, for still I think on you. 

But considerations taken from practical politics did not 
appeal to Drummond's philosophic mind, and he found 
a more congenial task in adapting the substance of the 
following passage from Arcadia and embodying it in his 
sonnet : 

Those lamps of heav'nly fire to fixed motion bound, 
The ever turning spheres, the never moving ground ; 
What essence dest'ny hath, if fortune be or no ; 
Whence our immortal souls to mortal earth do flow : 
What life it is, and how that all these lives do gather, 
With outward maker's force, or like an inward father. 
Such thoughts, methought, I thought, and strain'd my 

single mind, 
Then void of nearer care, the depth of things to find. 

II. 2-3. lie : Eternitie. A correct rhyme, the value of 
the rhyme- vowel being [ei]. Other similar cases are wis 
(spelt wie instead of wei in order to satisfy the eye) : descrie 
(i. p. 68, 11. 109-110), by : company (ii. p. 51, 11. 39-40), 

NOTES. 167 

Supercheries : despise (ii. p. 130, 11. 25-26), modestie : lie 
(ii. p. 169, 11. 5 and 8), etc. 

1. 11. Iris : in Greek mythology, a female divinity, 
messenger of the gods, often regarded as the personifica- 
tion of the rainbow. 

Sonnet vi, p. 6. Adapted from the following sonnet 
by Luigi Groto (Delle Rime di Luigi Groto Cieco d' Hadria, 
Venetia, 1587, p. 65), a prolific author in various branches 
of literature, whose Rime (especially the madrigals), it may 
be noted in passing, were laid under heavy contribution 
by the brothers Davison in that part of Davisons' Poetical 
Rhapsody which appears under their names. The sonnet 
in question by Groto runs as follows : 

Di produr Perle Arabia non si vanti 

Piu ne piu '1 Gange, onde il Sol novo ascende : 
Ne il Tago piu, che di fin' oro splende, 
Ne di Alabastri pien d' Egeo si canti. 

Ne Libia, ove 1' Avorio han gli elefanti : 
NeT Arcadia, che latte ogni hora apprende, 
Ne 1' India, che il pregiato Hebano rende, 
Ne Pesto ove hanno ogn' hor rose gli amanti. 

Sola Hadria tutti questi honor giunti habbia 
Che Perle, Sole, Oro, Alabastro, Avorio, 
Latte, Hebano produce insieme, e Rose : 

Onde le membra di colei compose, 

Per cui languisco, e del languir mi glorio : 
Denti, occhi, crin, sen, man, pie, ciglia, e labbia. 

1. 9. Nor Seas of those deare Wares are in you found : 
in sixteenth and seventeenth-century English the nomin- 
ative of the relative was frequently omitted, whereas 
modern usage confines the omission mostly to the accusa- 
tive. See W. Franz, Shakespeare-Grammatik, § 215. 

Sonnet vii, p. 6. This sonnet, the Platonism of which 
is well explained by Ward (i. p. 207) , would hardly have 
received its present form but for Sonnet xxv of Astrophel 
and Stella. It is also reminiscent of Sonnet xii in Drayton's 


1 68 NOTES. 

1. 5. Ere in these Mansions blinde they (alluding to our 
souls) come to dwell may be compared with 

What needed so high spirits such mansions blind ? 

in Sir Philip Sidney's Arcadia 1 (p. 187). 

1. 8. Not toylde with ought to Reason doth rebell : sub- 
sisting according to intellect ; not burdened with the 
encumbrance of body. 

Sonnet viii, p. 7. An amplification of the first two 
tercets of Sonnet cxiii of the First Part of Petrarch's Rime 
to Laura : 

Or che '1 cielo e la terra e '1 vento tace, 
E le fere e gli augelli il sonno affrena, 
Notte '1 carro stellato in giro mena, 
E nel suo letto il mar senz' onda giace ; 

Vegghio, penso, ardo, piango ; e chi mi sface 
Sempre m' e innanzi per mia dolce pena. 

I. 2. restie : " restive " ; now obsolete. 
11 5-6- . 

While Cynthia^ in purest Cipres c/ed. 

The Latmian Shepheard in a Trance descries — 

an allusion to the story of the moon-goddess Selene 
(one of her other numerous names was Cynthia) and 
Endymion, a beautiful youth, a shepherd or hunter, whom 
Selene visited and embraced every night while he lay 
asleep in a grotto on Mount Latmus in Caria. 

II. y-8. Whiles . . . whiles : " now . . . now." The 
adverb " whiles M with the meaning of " at times " is a 

Sonnet ix, p. 7. One of the finest of the numerous 
sonnets to Sleep, of which the best-known is that by 
Daniel {Delia, xlix). There is also a fine one by the Italian 
Delia Casa, and another by Desportes (Les Amours 
d'Hippolyte, lxxv) . Drummond's model, however, was his 

1 For convenience' sake Arcadia is quoted according to E. A. 
Baker's edition, London, 1907. 

NOTES. 169 

Italian contemporary Marino (Rime di Gio. Battista 
Marino, Venetia, 1602, Part I. p. 31) : 

O del Silentio figlio, e della Notte, 
Padre di vaghe imaginate forme, 
Sonno gentil, per le cui tacit' orme 
Son 1' alme al ciel d' Amor spesso condotte ; 

Hor, che 'n grembo ale lieui ombre interrotte 
Ogni cor (fuor che '1 mio) riposa, e dorme, 
L' Herebo oscuro, al mio pensier conforme, 
Lascia ti prego, e le Cimerie grotte, 

E vien col dolce tuo tranquillo oblio, 

E col bel volto, in ch' io mirar m* appago, 
A consolar il vedouo desio. 

Che, se 'n te la sembianza, onde son vago, 
Non m' e dato goder, godro pur' io 
De la morte, che bramo, almen 1' imago. 

1. 3. Indifferent Host to Shepheards and to Kings is 
borrowed from the fourth line of Sonnet xxxix of Astrophel 
and Stella, also addressed to Sleep : 

Th' indifferent judge between the high and low. 

1. 14. / long to kisse the Image of my Death re-echoes 

A dull desire to kiss the image of our Death. 

(Arcadia, p. 332.) 

By " Image of Death " Drummond means " sleep." Cf. 
vol. i. p. 65, 1. 14. 

Sonnet x, p. 8. This is conveyed, with Drummond's 
usual felicity, from Passerat's " Sonet a la Lune " (op. cit. 
i. p. 173) : 

O bel ceil de la nuict ; o la fille argentee, 
Et la sceur du Soleil & la mere des mois : 
O Princesse des monts, des fleuues, & des bois 
Dont la triple puissance en tous lieus est vant£e. 

Puisque tu es, Deesse, au plus bas Ciel montee, 
D'ou les piteus regrets des amants tu recois ; 
Di, Lune au front cornu, as tu veu quelquefois 
Vne ame qui d'Amour fust si fort tourment^e ? 

iyo NOTES. 

Si doncques ma douleur vient ton cceur esmouuoir, 
Tu me peus secourir ; ayant en ton pouuoir 
Des songes emplumez la bande charmeresse. 

Choisi l'vn d'entre tous qui les maus d'vn amant 
Sache mieus contrefaire, & Penuoye en dormant 
Representer ma peine a ma fiere maistresse. 

The opening lines Drummond found in another sonnet 
to the Moon by Lodovico Paterno, the author of a collec- 
tion of sonnets, eclogues, and elegies, published under the 
collective title of Le Nvove Fiamme di M. Lodovico Paterno, 
at Lyons, in 1568, but of which the first edition appeared 
in 1561 : 

Luna, che col tuo puro, & freddo argento 

Sueli a la maggior ombra il fosco horrore, etc. 

Sonnet xi, p. 8, 1. 8. Apelles of the Flowrs : a rather 
far-fetched way of saying " painter of the flowers " ; 
" that bepaints the flowers." 

I. 13. though thou now brought the Day : Drummond 
frequently omits the inflection of the second person 
singular of the past tense. Here again he was probably 
influenced by Scots. Cf. Sextain ii, 1. 14, p. 39, vol. i., 
and Epitaph, 1. 14, p. 83, vol. i. 

Song i, p. 9. Of all Drummond's poems this is the one 
that abounds most in reminiscences of Sidney, as the 
following examples show : — 

II. 9-11. 

When I, in simple Course, free from all Cares, 
Far re from the muddie Worlds captiuing Snares, 
By Or as flowrie Bancks alone did wander. 

Compare : 

When I, disgraced wretch, not wretched then did give 
My senses such relief, as they which quiet live, 

Free all my powers were from those captivating snares, 
Which heavenly purest gifts defile with muddy cares. 

{Arcadia, p. 332.) 

NOTES. 171 

1. 13. A Floud more worthie Fame, etc. : the river 
Eridanus, or Po. Cf. vol. i. p. 20, Son. xiv, 11. 2-3. 

I. 18. And seemes forget, etc. : Drummond generally 
omits to after seem before another infinitive, but not 

II. 21-22. wound : Sound : a correct rhyme, the value 
of the rhyme- vowel being [u]. Cf. sound : wound (ii. 
p. 144, 11. 109-110), etc. 

1. 28. That place graue Winter finds not without Flourish : 
the use of the word " flourish " in the sense of " blossom " 
or " mass of flowers " is confined to Scots, and to the 
Northern English dialects. Drummond also uses the word 
in Teares on the Death of Mozliades (1. 23) . 

1. 32. And Acidalias Queene with Mars reioyce her : 
Venus, probably so called from the well Acidalius near 
Orchomenos, where she was wont to bathe with the 
Graces. Venus was notorious for her love-adventures with 

1. 55. Here Adon blush't, and Clitia, etc. : according 
to Bion (Idyll i.), from the blood of the beautiful youth 
Adonis sprang the rose, and according to Ovid, Clytia, a 
daughter of Oceanus, was changed into the plant Helio- 
trope (Metam. iv. 6). 

n. 57-58. 

The Amaranthus smy/'d y and that sweet Boy 
Which sometime was the God of Delos joy — 

the Amaranthus or amaranth, a genus of plants with 
richly-coloured flowers, that last long without withering, 
as Love-lies-bleeding, early employed as an emblem of 
immortality. The " sweet boy " who was the joy of the 
god of Delos (Apollo) is Hyacinthus. 

I. 75. countervaile : " counterbalance/' " compen- 
sate " ; now obsolete. Cf. vol. i. p. 67, 1. 66. 

II. 79-80. 

For those harmonious sounds to Ioue are gtuen 

By the swift touches of the nyne-string* d Heauen — 

an allusion to the Pythagorean doctrine of the music 

172 NOTES. 

of the spheres revolving round the centre of the earth. 
According to Pythagoras the velocities of the spheres 
depend on their distance from the centre, the slower and 
nearer bodies giving out a deep note, and the swifter a 
high note, the concert of the whole yielding the cosmic 

11. 79-80. giuen : Heauen : this is probably to be taken 
as an incorrect rhyme, or possibly the pronunciation 
[hivn] is to be adopted. 

11. 85-86. wombe : come : a correct rhyme, the value of 
the rhyme-vowel being [u] . Other similar cases are come : 
tombe (i. p. 55, Song i, 11. 1-2), doome : come (ii. p. 46, 11. 
315-316), etc. 

I. 90. weave : in Elizabethan English weave or wave is 
used by the side of wove, as the past tense of to weav. Cf . 
vol. i. p. 65, 1. 23. 

II. 91-92. 

The Goddesses such were that by Scamander, 
Appeared to the Phrygian Alexander — 

a reference to the judgment of Paris, also called Alexander, 
or the " defender of men," and generally depicted wearing 
a Phrygian cap. The judgment took place on Mount Ida 
in the country of Troy, of which one of the principal 
rivers is the Scamander, which has its source in the chain 
of Mount Ida. 

1. 93. Aglaia, and hev Sistevs : the Charites or Graces, 
of which one was Aglaia. 

1. 101. Looke howe Pvometheus Man, etc. : according 
to an ancient legend (Ovid, Metam. i. 2), Prometheus 
tempered some earth with water, and moulded it into the 
form of a human body, which was animated by Minerva. 
Cf. vol. ii. p. 228, ii, 1. 6. 

I. 102. Dayes Brandon : the " torch " of day, i.e. the 
sun ; Fr. brandon. 

II. 103-104. Amphitheater : Watev : a. correct rhyme, 
the value of the rhyme- vowel being [a]. Other similar 
instances are Watev : scattev (i. p. 12, 11. 139-140), fovsake : 

NOTES. 173 

Backe (i. p. 145, 11. 131-132), take : lacke (ii. p. 15, 11. 52 and 
54), awake : blacke (ii. p. 30, 11. 8-9), make : Zodiacke 
(ii. p. 43, 11. 211-212), was : alas (ii. p. 177, viii. 11. 9-10) ; 
grace : alas (ii. p. 260, 11. 95-96), etc. 
11. 105-108. 

All three were fair e, yet one excelled as farre 
The rest^ as Phebus doth the Cyprian Starre^ 
Or Diamonds small Gemmes, or Gemmes doe other ^ 
Or Pearles that shining shell is caWd their Mother. 

Compare : 

... a nymph that did excel as far 
All things that erst I saw, as orient pearls exceed 
That which their mother hight . . . 

(Arcadia^ p. 333.) 

1. 106. the Cyprian Starre : Venus, the most brilliant 
of the planets. 

1. no. Hang : " hung." A northern form of the past 
of king or heng(e) (O.N. hengga), which at first appeared 
with weak inflexion and transitive sense (hinged, henged), 
but soon, by assimilation to the third ablaut-class of 
strong verbs, with a past tense, hang, both transitive and 
intransitive. The forms hing and hang are the usual ones 
both in Middle and Modern Scots. Cf. vol. i. p. 62, 
Mad. hi, 1. 3 ; vol. ii. p. 51, 1. 42, etc. 

I. in. tons' d : " combed " ; properly to " pull," 
" tear," " worry." Now obsolete. 

II. 117-118. 

Her either Cheeke resembVd a blushing Morne^ 
Or Roses Gueules in field of Lillies borne. 
Compare : 

Her face, he makes his shield ; 
Where roses gules are borne in silver field. 

(Astrophel and Stella^ xiii.) 

1. 118. Gueules : an obsolete form of gules : " red," as 
one of the heraldic colours. Hence, poetically and rhetori- 
cally, the colour red in general. Here, as often, it is used as 
a quasi-adjective, or rather as an attributive substantive. 

1. 123. The Tyrian Fish lookespale, etc. : the " murex," 

174 NOTES. 

a shell-fish, from which the Tynan purple dye was 

I. 127. Her Necke seem'd fram'd by curious Phidias 
Master : presumably Ageladas, a native of Argos, who is 
generally supposed to have been one of the instructors of 
the renowned Phidias, the greatest sculptor and statuary 
of ancient Greece. 

II. 127-128. 

Her Necke seen? d fram'd by curious Phidias Master, 
Most smooth, most white, a piece of Alabaster, 

Compare : 

A hill most fit for such a master, 
A spotless mine of alabaster. 

{Arcadia, p. 182.) 
11. I3I-I34- 

There all about as Brookes them sport at leasure, 
With Circling Branches veines did swell in Azure : 
Within those Crookes are only found those Isles 
Which Fortunate the dreaming old World Stiles. 

Compare : 

There fall those sapphire-coloured brooks, 
Which conduite-like with curious crooks, 
Sweet Islands make in that sweet land. 

{Arcadia, p. 183.) 

Drummond's entire description of the bathing nymph 
(11. 109-136) should be compared with the song, in Arcadia, 
which Zelmane makes upon the beauty of Philoclea 
bathing, in order fully to comprehend Drummond's 
imitative methods. 

I. 139. Ne could I thinke, etc. : here " ne " equals 
" nor," and has that value following a negative clause, or 
a word with a negative force ; now archaic. 

II. 143-144. named : dreamed : the value of the rhyme- 
vowels was probably [§ or ae ?]. Similar cases are very 
numerous — Shade: reade (i. p. 16, 11. 233-234), ^<zce : race 
(i. p. 38, Son. xliii, 11. 5 and 7), deceaue : haue (i. p. 46, 
Mad. ix, 11. 6 and 8), Wrath : Death (i. p. 71, 11. 203-204), 

NOTES. 175 

States : Conceits (i. p. 135, lxxx, 11. 9 and 12), leaue : haue 
(ii. p. 157, xvii, 11. 6-7), etc. 

11. 161-162. play : Stf<z. These words do not consti- 
tute a correct rhyme, the value of the rhyme-vowels being 
probably [e l : e ?]. Other cases are sea : decay (i. p. 53, 
Son. iv, 11. 2 and 4), day : sea (i. p. 55, Son. vii, 11. 1 and 3), 
Seas : Rales (ii. p. 142, 11. 39-40), etc. 

1. 163. rander — " render " : "to give up," "to sur- 
render '■' ; now obsolete in that sense. The form 
" rander " (cf. vol. ii. p. 99, 1. 1050) is explained by the 
Scots peculiarity of changing e to a, especially before n or 
r, chiefly in borrowed words : expart ( = expert) , avart 
( = avert), panse ( = pense), desart ( = desert), etc. Cf. the 
rhymes Ample : Temple (11. 203-4, below), and Termes : 
armes (ii. p. 193, 11. 2-3). 

I. 167. vncouth : " strange." Cf. vol. i. p. 70, 1. 167. 

II. 171-172. 

And with the Sound foorth from the timorous Bushes 
IVith storme-like Course a sumptuous Chariot rushes. 

Compare : 

There came a chariot fair, by doves and sparrows guided 
Whose storm-like course stay'd not till hard by me it bided. 

{Arcadia^ p. 333.) 
11. 175-176. 

The vpmost Part a Scarlet Vaile did couer^ 

More rich than Danaes Lap spred with her Louer — 

Danae was the daughter of Acrisius, king of Argos. 
Her father, having been warned by an oracle that she 
should bear a son by whom he would be slain, shut up 
Danae in a brazen tower, but Zeus descended to her in a 
shower of gold, and she gave birth to Perseus. Many of 
the representations of Danae in art are famous, among 
them the painting by Correggio, in the Palazzo Borghese 
at Rome, in which she is depicted reclining on a couch, 
while Cupid before her holds out a fold of the drapery over 
her knees to catch the golden shower. Drummond is 
perhaps referring to this picture by Correggio. 

176 NOTES. 

1. 182. That Amathus orflowrie Paphos sees : Amathus, 
a city of Phoenician origin, on the southern coast of Cyprus. 
It contained a sanctuary of Aphrodite. Paphos, an 
ancient city of Cyprus, famed for its celebrated temple of 

1. 186. nyce : " shy," " modest " ; now obsolete in 
that sense. 

1. 189. Ermeline : a synonym of " ermine.' ' 

1. 223. The Queene of the third Reauen : Venus. 

1. 224. The God of Thrace : Ares or Mars, so called 
because his favourite haunt was the land of the wild and 
warlike Thracians. Cf. vol. ii. p. 131, v, 1. 3. 

1. 226. Riphean Hills : an error for Rhipean hills 
(Rhipaei Montes), the name of a lofty range of mountains 
in the northern part of the earth, respecting which there 
are divers statements in the ancient writers. 

1. 227. Psyches Louer : Cupid. 

at randon : " with great force " or " impetuosity/' as 
often O.F. a randon, from which it is derived. The change 
of -n to -rn, in the modern form, is independent of the very 
rare O.F. form random. 

I. 234. And Night and Day the Hyacinthe there reade : 
out of the blood of Hyacinthus, accidentally killed by 
Apollo, grew the hyacinth, the petals of which were 
supposed to be marked with the mournful exclamation 
AI, AI (alas !). The Greek hyacinth cannot have been 
the flower which now bears that name ; it has been 
identified with a species of iris and with the larkspur, 
which appear to have the markings described. Cp. 
Teares on the Death of Mceliades, 1. 127. 

II. 239-244. 

And for such Thoughts to haue my Heart enlarged, 

And ease mine Eyes with brinie Tribute charged, 

Ouer a Brooke (me thought) my pining Face 

I laid, which then (as grieu'd at my Disgrace) 

A Face Me shewed againe so ouer-clouded, 

That at the Sight mine Eyes afray'd them shrowded. 

NOTES. 177 

Compare : 

Over these brookes trusting to ease mine eyes, 
(Mine eyes even great in labour with their teares) 
I layde my face ; my face wherein there lyes 
Clusters of clowdes, which no Sunne ever cleares. 
In watry glasse my watrie eyes I see : 
Sorrowes, ill easde, where sorrowes painted be. 

[Arcadia , p. 211.) 

Sonnet xii, p. 17. The opening quatrain was no 
doubt suggested by the following lines of Sonnet vi of the 
Second Part of Petrarch's Rime : 

Datemi pace, o duri miei pensieri : 

Non basta ben ch' Amor, Fortuna e Morte 
Mi fanno guerra intorno e 'n su le porte, 
Senza trovarmi dentro altri guerrieri ? 

The rest of the sonnet recalls vividly the last ten lines 
of Sonnet xxx of Daniel's Delia : 

For who gets wealth, that puts not from the shore ? 
Danger hath honour ! great designs, their fame ! 
Glory doth follow ! courage goes before ! 
And though th' event oft answers not the same ; 
Suffice that high attempts have never shame. 
The Mean-observer (whom base safety keeps) 
Lives without honour, dies without a name ; 
And in eternal darkness ever sleeps. 

And therefore, Delia ! 'tis to me, no blot ; 

To have attempted, though attained thee not. 

Daniel's sonnet is itself a condensation of Tansillo's 
two beautiful sonnets : " Amor m' inpenna 1' ala," and 
" Poiche spiegat' ho 1' ale al bel desio." It is of course 
also possible that Drummond may have drawn from the 
original source. 

1. 4. to = " too." 

1. 7. steppie : " steep," " declining." 

1. 10. So that : '• provided that." 

Madrigal i, p. 17. Translated from one of Marino's 
Madrigals [Rime, pt. ii. p. 81) : 

178 NOTES. 

Fabro dela mia morte 

Sembr' io verme ingegnoso, 

Che 'ntento al proprio mal mai non riposo. 

De le caduche foglie 

D' una vana speranza mi nodrisco : 

E uarie fila ordisco 

Di pensier, di desiri insieme attorte. 

Cosi, lasso, a me stesso 

Prigion non sol, ma sepoltura intesso. 

1. I. A Dedale of my Death : " a contriver of my own 
death." Daedalus {i.e. " cunning artificer ") was the 
mythical Greek representative of all handiwork. 

Sextain i, p. 18. Evidently suggested by Sestina vii 
in the First Part of Petrarch's Rime : 

Non a tanti animali il mar fra 1' onde, 
Ne lassu sopra '1 cerchio de la luna 
Vide mai tante stelle alcuna notte, 
Ne tanti augelli albergan per li boschi, 
Ne tant' erbe ebbe mai campo ne piaggia, 
Quant' a il mio cor pensier ciascuna sera. 

Di di in di spero omai 1' ultima sera, 

Che scevri in me dal vivo terren 1' onde, 
E mi lasci dormir in qualche piaggia : 
Che tanti affanni uom mai sotto la luna 
Non sofferse, quant* io : sannolsi i boschi, 
Che sol vo ricercando giorno e notte. 

P non ebbi gia mai tranquilla notte, 
Ma sospirando andai mattino e sera, 
Poi ch' Amor femmi un cittadin de' boschi. 
Ben fia, prima ch' i' posi, il mar senz' onde, 
E la sua luce avra '1 Sol da la luna, 
E i fior d' april morranno in ogni piaggia. 

Consumando mi vo di piaggia in piaggia 
II dl pensoso ; poi piango la notte ; 
Ne stato 6 mai se non quanto la luna. 
Ratto come imbrunir veggio la sera, 
Sospir del petto e degli occhi escon onde, 
Da bagnar 1' erba e da crollare i boschi. 

Le citta son nemiche, amici i boschi 

A' miei pensier, che per quest' alta piaggia 

NOTES. 179 

Sfogando vo col mormorar de 1' onde 
Per lo dolce silenzio de la notte : 
Tal ch' io aspetto tutto '1 dl la sera, 
Che '1 Sol si parta e dia luogo a la luna. 

Deh or foss' io col vago de la Luna 

Addormentato in qualche verdi boschi ; 
E questa ch' anzi vespro a me fa sera, 
Con essa e con Amor in quella piaggia 
Sola venisse a starsi ivi una notte : 
E '1 dl si stesse e '1 Sol sempre ne 1' onde. 

Sovra dure onde al lume de la luna, 

Canzon nata di notte in mezzo i boschi, 
Ricca piaggia vedrai diman da sera. 

11. 7-IO. 

Why should I beene a Partner of the Light ? 
Who crost in Birth by bad Aspects of Starr es^ 
Haue neuer since had happie Day nor Nighty 
Why was not I a Liuer in the Woods^ etc.— 

The form " beene " in 1. 1 of this passage presents a real 
difficulty. If it is taken as an infinitive (Professor Gregory 
Smith informs us that he knows of no Middle Scots usage 
which would account for such an infinitival been), it can 
only be explained as a conscious archaism to which 
Drummond may have been attracted by a similar use of 
that form in the Faerie Queene (n. i. 52, 1. 7) : 

Whom when I heard to beene so ill bestad. 

There are serious objections, however, to this interpre- 
tation, when the present example is considered in con- 
nexion with two others in Drummond's manuscript 
poems, which, it must be remembered, present Drummond 
in undress, so to speak, with Scotticisms flowing freely 
from his pen, and in which he would be most unlikely to 
strive for poetic effect by the introduction of archaic 
forms. The first of these passages (vol. ii. p. 244, xliii, 
11. 5-6) is as follows : 

The corne unmowed on Duns-Law strong did shine, 
Lesley, could thou haue shorne, it might beene thyne. 

180 NOTES. 

The second (vol. ii. p. 266, 11. 97-100) is : 

If I var one of yow my sille lambes 
I suld not beene oprest vith th' vncuth caire 
That mankind hath, nor felt the cruel flames 
Of Phillis eies, nor knowne vhat vas despaire. 

From these two passages, especially the second (in the 
first it might be argued that have is carried on from the 
first to the second part of the sentence), it would appear 
that we are in presence of an elliptical construction in 
which unstressed have, represented by some such sound as 
[9] (cp. in Shakespeare : " She might ha' been a grandam "), 
is slurred over so rapidly as to disappear altogether. We 
are informed, moreover, that this omission of have in such 
forms is still found in certain parts of Scotland. Further, 
the use of the past tense in 11. 4 (was), 3 (felt) respectively 
of the first and third passages quoted points distinctly in 
that direction. 

Another explanation, less probable, would be that " I 
should been," etc., is an analogy form constructed on the 
model of " I had been " = " I should have been." 

1. 16. makes : this form of the first person singular of the 
present indicative is assured in this passage, and is errone- 
ously and silently corrected to "make" in the Maitland 
Club edition, and in all other editions of Drummond. It 
is a Scotticism ; in Scots, as in the earlier Northern 
dialects, all the persons, singular and plural, of the present 
indicative end in -is (-s), whenever the verb is separated 
from its personal pronoun. Other examples are : I curse 
the Night, yet doth from Day mee hide (i. p. 46, Son. liii, 

I. 1) ; Oft calles that Prince which here doth Monarchise 
(i. p. 64, Mad. v, 1. 5) ; My self e now scarce I finde my self e to 
be, And thinkes no Fable Circes Tyrannic (ii. p. 150, Son. ii, 

II. 6-7) ; The pleasant leaues, the suetest floures decay es (ii. 
p. 263, 1. 18) ; Since my requests in hue offends thy eares 
(ii. p. 269, iv, 1. 3) ; Whose Vertues rare, whose Beauties 
braue but art Makes thee aboue thy sacred sex to shine (ibid. 
v, 11. 3-4) ; And if these Trumpets yeilds not schrillest sounds 

NOTES. 181 

(ii. p. 273, 1. 13). In the first example doth is an analogy 
form (cf. note to 1. 85 of Eclogue I, vol. ii. p. 405). The 
Northern form in -s for the third person plural (for the 
other persons it is rare, and doubtful) is found, assured 
by rhyme, in Shakespeare, and other Elizabethans. Cf. 
Shakespeare : Venus and Adonis, St. 188, 11. 5-6 : 

She lifts the coffer-lids that close his eyes, 
Where, lo, two lamps, burnt out, in darkness lies. 

The Passionate Pilgrim, xx, 11. 2-4 : 

And we will all the pleasures prove 
That hills and valleys, dales and fields, 
And all the craggy mountains yields. 

It should be noted that these forms in -5 are rare in 
Drummond's printed and revised work. 

1. 24. en-isle : "to make into an isle." 

Drummond writes " sight " as the last rhyme-word of 
the final half-strophe or tornada, whereas the rules govern- 
ing the structure of the sestina require light, which would 
be equally satisfactory in other respects. 

Sonnet xiii, p. 19. Such sonnets, in which several or 
all of the lines begin with an apos trophic O, are part of 
the stock-in-trade of the Petrarchists. Drummond's im- 
mediate model, though he does not follow it slavishly, 
appears to have been the following sonnet of Ronsard's 
Amours ((Euvres de P. de Ronsard, ed. Marty-Laveaux, 
i. p. 27) : 

O doux parler dont les mots doucereux 
Sont engrauez au fond de ma memoire : 
O front, d' Amour le Trofee & la gloire, 
O doux souris, O baisers sauoureux : 

O cheueux d'or, O coutaux plantureux, 
De lis, d'ceillets, de porfyre, & d'yuoire : 
O feux iumeaux d'ou le Ciel me fit boire 
A si longs traits le venin amoureux : 

O dents, plustost blanches perles encloses, 
Leures, rubis, entre-rangez de roses, 
O voix qui peux adoucir vn Lion, 

1 82 NOTES. 

Dont le doux chant Poreille me vient poindre : 
O corps parfait, de tes beautez la moindre 
Merite seule vn siege dTlion. 

1. 5. Tongue in which most lushious Nectar lies is 
borrowed from Sir Philip Sidney's Astrophel and Stella 
(Son. lxxxiii) : 

And through those lips drink nectar from that tongue. 

Sonnet xiv, p. 20. This sonnet, though it bears no 
close resemblance to it, was probably suggested by Sonnet 
cxvi, Part I., of Petrarch's Rime, in the first four lines of 
which there is a similar enumeration of various rivers. 

1. 2. Sebethus : a small river in Campania, flowing 
round Vesuvius. 

1. 4. Munda : the Latin name of the Mondego, a river 
of Portugal, which rises in the Sierra da Estrella, and falls 
into the Atlantic at the ports of Buarcos and Figueira, 
after a course of 120 miles. 

Iber : the Iberus or Ebro, the principal river in the 
N.E. of Spain. 

1. 5. Sorgue : a small French river, which rises in the 
Fountain of Vaucluse, and empties itself into the Rhone 
about four miles above Avignon. The Sorgue, though 
quite an insignificant stream, is singled out for special 
mention because of its proximity to Avignon, where, on 
the 6th of April, 1327, during his second stay, Petrarch 
first saw, in the church of Sainte-Claire, the Laura whom 
he has immortalized in his Canzoniere. Petrarch alludes 
directly to the river Sorgue in that one of his sonnets 
which suggested the present poem. 

1. 6. Peneus : the chief river of Thessaly. 

Phasis : a celebrated river of Colchis, flowing into the 
east end of the Pontus Euxinus or Black Sea. 

Xanthus : the chief river of Lycia. 

Ladon : as Drummond qualifies the Ladon with the 
epithet " humble," he is probably referring to a small 
river of that name in Elis, rising on the frontiers of Achaia, 
and falling into the Peneus. 

NOTES. 183 

1. 8. Ister : the Greek name of the Danube. 

1. 9. Hermus : a considerable river of Asia Minor. 

1. 10. Hydaspes : the northernmost of the five great 
tributaries of the Indus. 

1. 14. Northerne Phenix : Miss Cunningham of Barns, 
Drummond's beloved. Barns, the seat of the family of 
Cunninghams to which the young lady belonged, is near 
Crail in Fifeshire, and the Ore or Ore Water is not very 
distant from Barns. 

Sonnet xv, p. 20. This sonnet is an admirable 
instance of how Drummond could assimilate his model 
and refashion the substance according to his own mould. 
His model in this case is Sonetto xxix of Sannazaro's Rime 
(Le Op ere Volgari di M. Jacopo Sanazzaro, Padova, 1723, 

P. 354) : 

Ecco che urT altra volta, o piagge apriche, 

Udrete il pianto, e i gravi miei lamenti : 

Udrete, selve, i dolorosi accenti, 

E '1 tristo suon delle querele antiche : 
Udrai tu, mar, 1' usate mie fatiche, 

E i pesci al mio lagnar staranno intenti : 

Staran pietose a' miei sospiri ardenti 

Quest' aure, che mi fur gran tempo amiche. 
E, se di vero amor qualche scintilla 

Vive fra questi sassi, avran mercede 

Del cor, che desiando arde, e sfavilla. 
Ma, lasso, a me che val, se gia nol crede 

guella ch' i sol vorrei ver me tranquilla ; 
e le lacrime mie m' acquistan fede ? 

Sonnet xvi, p. 21. Another happy adaptation from 
Sannazaro (op. cit. p. 364) : 

Cari scogli, dilette e fide arene, 

Che i miei duri lamenti udir solete 5 

Antri, che notte e dl mi rispondete, 

Quando dell' arder mio pieta vi viene : 
Folti boschetti, dolci valli amene, 

Fresche erbe, lieti fiori, ombre segrete ; 

Strade sol per mio ben riposte, e quete, 

D* amorosi sospir gia calde, e piene : 

i8 4 NOTES. 

O solitarii colli, o verde riva, 

Stanchi pur di veder gli affanni miei, 

Quando fia mai che riposato io viva ? 
O per tal grazia un di veggia colei 

Di cui vuol sempr' Amor ch' io parli, e scriva, 

Fermarsi al pianger mio quant' io vorrei ? 

11. 1-2. 

Sweet Brooke, in whose cleare Christall I mine Eyes 
Haue oft seene great in Labour of their Teares — 

In these two lines Drummond re-echoes, for a second 
time, the verses in Arcadia, already quoted, which Zelmane 
wrote in the sand of Ladon. 

1. 6. Amphions of the Trees : an elaborate way of 
saying " wood-birds," " singers of the woods " — in refer- 
ence to Amphion's marvellous lyre. 

1. io. Embrodred : Drummond invariably uses the 
form " embroder," which in his day was used by the side 
of embroider, though not so frequently. 

Sonnet xvii, p. 21. This poem would certainly not 
have received its present form but for the following sonnet 
in Lodovico Paterno's Nvove Fiamme (Lyons edition of' 
1568, p. 95) : 

Di zafiri, & di perle il nouel anno 

Si veste ; ne piu neue appar ne' monti ; 
Chine portan 1' altere humide fronti 
I fiumi, e 'n pace entro a suoi letti stanno. 
Sotto '1 tepido sole allegri vanno 

Con le Ninfe i pastori ; & sour' i fonti 
Puri ; & ne' rami vccelli avezzi, & pronti 
Sfogan piangendo ogni passato affanno. 
Quinci vacche mugghir, quindi poi gregge 
S' odon belar j 1' aura d' intorno spira : 
L' aria, 1' acqua, & la terra e bella in vista. 
Sol meco Amor con piu seuera legge 
Opra sue forze, & la mia vita attrista 
SI, c' homai vengo a me medesmo in ira. 

1. 7. Those Flowrs are spred which Names of Princes 
beare : the hyacinth, the narcissus, and the anemone, 

NOTES. 185 

flowers which sprang from the blood of the princes Hya- 
cinthus, Narcissus, and Adonis. 

1. 9. bea-w ailing : this curious spelling is intended to 
suggest the bleating of the lambs ; bea is a sixteenth and 
seventeenth-century form of baa, the cry of a sheep or 

Sonnet xviii, p. 22. This should be compared with 
Sonnets vii and xx of Astrophel and Stella. Ward remarks 
justly that the name " Auristella," which appears nowhere 
else in Drummond's poems, was probably chosen not 
without a thought of Sidney's mistress. 

I. 6. In Colour Blacke to wrappe those Comets bright 
re-echoes Sidney's : 

In colour black, why wrapt she beams so bright ? 

(dst. and Stella y vii, 1. 2.) 

II. 10-12. It will be remembered that green is the colour 
of Hope. 

Madrigal ii, p. 22. A fairly close translation from 
the following madrigal by Torquato Tasso (Scielta delle 
Rime del Sig. Torquato Tasso, Ferrara, 1582, pt. i. p. 

49) : 

Al vostro dolce azurro 
Ceda, o luci serene, 

8ual piu bel negro Italia in pregio tiene. 
cchi, cielo d* amore, 
Sole di questo core, 

Sono gli altri appo voi notte et inferno. 
Azurro e '1 cielo eterno, 
E quel, ch' e bello, il bello ha sol da lui, 
Ei bello e sol, perch' assomiglia a vui. 

1. 5. Sinople : "of a green colour." The word 
sinbple is used especially in heraldry of the colour 
green, or " vert." 

Sonnet xix, p. 23. Although direct imitation does not 
extend beyond lines 9-12, the whole poem reflects the 
following sonnet by Marino (Rime, 1602, pt. i. p. 28) : 

vol. 1 n 

1 86 NOTES. 

Qualhor di uagheggiar desio mi spinge 
Quella, c' ha di mia uita eterno impero, 
Amor nel uago, e cupido pensiero 
Quasi uisibilmente a me la finge. 

E '1 sembiante gentil forma, e dipinge 
Con si vivi color, si pari al uero, 
Che lunge il cor dal caro obietto altero 
Pur come presso, a sospirar costringe. 

Ei nouo Zeusi al' Oriente tolto 

L' oro, T ostro al' Aurora, i raggi al Sole, 
II bel crin ne figura, e gli occhi, e '1 volto. 

Ma poiche le dolcissime parole 

L' alma non ode, ahi (dice) il pensier stolto 
Schernir anch* egli, e tormentar mi uole ? 

Drummond may also have had in mind the sonnet at 
the beginning of the second book of Arcadia, beginning : 
In vaine, mine Eyes, you labour to amende. 

1. 9. Zeuxis : the celebrated Greek painter, a native of 
Heraclea in South Italy ; lived till about 400 B.C. He 
aimed especially at the highest degree of illusion. He is 
said, according to Pliny (Nat. Hist. xxxv. 61-66), to 
have painted grapes so naturally that the birds flew to 
peck at them. 

1. 11. Cynoper : " cinnabar/' " vermilion.' ' Nares 
quotes Ben Jonson (The Alchemist, i. 3) : 

I know you have arsnicke, 
Vitriol, sal-tartre, argaile, alkaly, 

Sonnet xx, p. 23, 1. 9. Who sees those Eyes, their Force 
and doth not proue : an example of a rather forced in- 
version, frequently met with in Drummond. 

Sonnet xxi, p. 24, 11. 2-3. 

And Pitie breede into the hardest Hart 
That euer Pirrha did to Maide impart — 

Pyrrha, the wife of Deucalion, son of Prometheus and 
Clymene. Zeus having resolved to destroy the degenerate 
race of mankind by a great flood, Deucalion, by the advice 

NOTES. 187 

of his father, built a wooden chest, in which he rescued 
only himself and his wife from the general destruction. 
Inquiring of the oracle of Themis at Delphi how the human 
race could be renewed he received answer that Pyrrha and 
he should veil their heads, and throw behind them the 
bones of their mother. They understood the priestess to 
refer to stones, which they accordingly threw behind 
them ; and the stones of Deucalion turned into men, 
those of Pyrrha into women (Ovid, Met am. i. 10). 

Sonnet xxii, p. 24. Adapted from a sonnet by 
Garcilaso (Obras, Madrid, 1911, p. 218) : 

Hermosas ninfas, que en el Ho metidas, 
Contentas habitais en las moradas 
De relucientes piedras fabricadas 

Y en colunas de vidro sostenidas ; 
Agora esteis labrando embebecidas, 

O tejiendo las telas delicadas ; 
Agora unas con otras apartadas, 
Contandoos los amores y las vidas ; 
Dejad un rato la labor, alzando 

Vuestras rubias cabezas a mirarme, 

Y no os detendreis mucho segiin ando ; 
Que 6 no podreis de lastima escucharme, 

O convertido en agua aqui llorando, 
Podr&s alia de espacio consolarme. 

11. 13-14. powre : sowre : a correct rhyme, the value of 
the rhyme- vowel being [ou]. Other similar cases are 
Flowrs : yours (i. p. 27, Son. xxvi, 11. 13-14), Power : 
Whoure (i. p. 91, iii, 11. 4-5), now : grow (i. p. 127, lxix, 
11. 7-8), Browes : glowes (ii. p. 43, 11. 213-214), more : 
deuoure (ii. p. 54, 11. 147-148), now : flow (ii. p. 118, i, 11. 
11-12), brow :flow (ii. p. 119, i, 11. 23-24), etc. 

Madrigal iii, p. 25, 1. 1. the Idalian Queene : Venus, so 
called from the town of Idalium in Cyprus, sacred to her. 
11. 5-6. 

In Cyprus Gardens gathering those faire Flowrs 
Which of her Bloud were borne — 

1 88 NOTES. 

According to a legend of antiquity, from the blood of 
Venus sprang the rose. Cf. vol. i. p. 33, Son. xxxvi, 1. 3 ; 
ibid. p. 37, Mad. v, 11. 9-10. 

1. 12. Aspine : an obsolete form of " aspen." Here 
the meaning is obviously " trembling." 
The conceit in the last two lines : 

{That Shee might read my Case) 

A Hyacinth I wisht mee in her Hand^ 

is a reminiscence of the closing tercet of one of Marino's 

sonnets [Rime, pt. i. p. 75): 

Fossi anch' io fiore, e per poter dipinto 
Mostrarti sospirando aura odorata, 
Ne le foglie il mio duol, fossi Giacinto. 

Sonnet xxiv, p. 26. The opening of this sonnet seems 
to have been suggested by one of Desportes' " spiritual " 
sonnets (CEuvres, ed. Michiels, p. 509) : 

Quand, miroir de moy-mesme, en moy je me regarde, 
Je voy comme le tans m'est sans fruict escoul£, 
Tandis que, de jeunesse et d'amour affol6, 
Ce monde en ses destours m'amuse et me retarde. 
La beaute* de mes ans, comme un songe fuyarde, 
Me laisse en s'envolant le poil entremesle, 
Le teint palle et flestri, le coeur triste et gele, 
Qui pour tous beaux pensers la repentance garde, etc. 

1. 2. viuely : " in a vivid or lively manner." The word 
is used by the Elizabethans. 

1. 14. Malgre — " maugre," which is the usual form. 
Probably Drummond uses the form " malgre " consciously 
as a French word, as has sometimes been done by other 
English writers. 

Sonnet xxv, p. 26. This sonnet seems to have caught 
Milton's ear when he penned his beautiful sonnet, 
" O Nightingale that on yon bloomy spray." 

Sonnet xxvi, p. 27. This sonnet may be compared 
with Garcilaso's twenty-third sonnet, and with those of 
Torquato Tasso, in which he prophetically describes the 
havoc old age will work upon his mistress's beauty. 

NOTES. 189 

1. 4. Graine : " colour," " dye." Compare Barnaby 
Barnes* second " Sestine " : 

Thy cheeks and forehead disaray 
The rose and lillyes of their grayne. 

" Graine " has the epithet " Tyrian," because Tyre, a 
city of Phoenicia, was famous for the fishing of the murex, 
a shell-fish yielding a purple liquor used in manufacturing 
the dye. 

1. 8. the Thracian Harper : Orpheus. 

Sonnet xxvii, p. 27. Drummond no doubt had in 
mind the opening sonnet of the Second Book of the 
Erreurs Amour euses of Pontus de Tyard : 

Je n'atten point que mon nom l'on escriue 
Au rang de ceux, qui ont des rameaux vers 
Du blond Ph6bus les scauans frons couuers, 
Hors du danger de l'oublieuse riue. 

Sceve parmi les doctes bouches viue : 
Reste Romans honore par les vers 
De Desautelz ; & chante l'Vnivers 
Le riche loz de PImmortelle Oliue : 

Vueille Apollon du double mont descendre, 
Pour rendre grace a cest autre Terpandre, 
Qui renouuelle & l'vne, Sc l'autre Lyre. 

Mais moy, scez tu a quoy, Dame, i'aspire ? 
C'est sanz espoir de piteuse te rendre 
Que seulement mes plains du daignes lire. 

Instead of adopting Tyard's rather prosy enumeration 
of some of his poetic friends, Drummond replaces the 
second quatrain and the first tercet by an amplification of 
the French sonneteer's next piece, in which the same 
theme is elaborated : 

Je n'ay encor de la sainte eau sceu boire 

Dessouz le pied du prompt cheual des Cieux : 
Ny le douz songe ha repu mes deux yeux 
Au double mont, des filles de Memoire. 

Compare also Sonnet lxxiv, similar in motive, of 

Astrophel and Stella : 

1 9 o NOTES. 

I never drank of Aganippe's well ; 
Nor never did in shade of Tempe sit : 
And Muses scorn with vulgar brains to dwell. 
Poor layman, I ! for sacred rites unfit. 

1. 8. Aganippe Well : a fountain at the foot of Mount 
Helicon in Boeotia, sacred to the Muses, and believed to 
inspire those who drank of it. 

1. 9. Venus Tree : the myrtle. The earliest Roman 
name of Venus appears to have been Murcia, which was 
interpreted later as Myrtea, goddess of myrtles. The rose 
was also sacred to Venus. 

Sonnet xxviii, p. 28, 1. 5. Shrill Treeble weepe, and you 
dull Basses show is borrowed from Son. lxx of Astrophel 
and Stella : 

Trebles sing high as well as basses deep. 

I. 10. Woods solitarie Shades for thee are best. The 
Maitland Club edition punctuates erroneously : " Woods, 
solitarie shades, for thee are best." 

Sonnet xxix, p. 28. This sonnet appears in the 
Hawthornden MSS., in Drummond's hand, with the 
following variants : 

1. 3. Aires Trompetters your hidious sounds containe 

1. 5. Eternall lights free from affectiones laws 

1. 6. Who in your shining thrones most glorious raigne 

1. 7. Turn hither all your eies, your axel tre pause 

1. 9. Earth who as partner euer of my disgrace 

1. 10. Looks sadlie sullen, aske those powers aboue 

1. 12. Fram'd onlie for mishap the sport of loue 

II. i and 4. Waues : cause : a correct rhyme, the value 
of the rhyme- vowel being [au]. Other cases are Lawes : 
Waues (i. p. 69, 11. 151-152), laughter : daughter (ii. p. 210, 
xii, 11. 11-12). 

1. 12. th* Anachorite of Loue : " Anachorite " is an 
archaic form of anchorite or anchoret, which is derived 

NOTES. 191 

from the Greek word avax<apr)Tfc, one who goes or 
lives apart from his fellow-men, a " hermit." 

1L I 3-i4- 

And bid them if they would moe Mtnas bume y 
In Rhodopee or Erimanthe mee turne — 

Were he transformed into a snowy mountain — Rhodope 
or Erymanthus — his inward fire would convert it into a 
volcano. This is Ward's explanation, and, we think, the 
correct one. 

Sonnet xxx, p. 29. Written on the model of Boscan's 
twenty-first sonnet (Obras, ed. W. Knapp, Madrid, 1875, 

P- i85) : 

Que estrella fue por donde yo cai 

En el mundo con tanta pesadumbre ? 

Qual madre ya de vida me di6 lumbre ? 

Por que me echo tan hueYfano, y asi ? 
Quien primero holgo, quando nacl ? 

Qual dolor me subio tan en su cumbre 

Que no halle remedio en la costumbre, 

1 hoy sienta mas lo que ayer mas send ? 
Por qu£ no mori en el vientre, 6 en naciendo ? 

Por que me tomo nadie en sus rodillas, 

Criandome entre vivos, no viviendo ? 
Forzado es ya que vaya descubriendo 

Entre mis enemigos mis mancillas, 

Y unos lloren y esten otros riendo. 

Drummond had also studied the sonnet in Ronsard's 
Amours (of which there is a copy in his commonplace- 
book) beginning : 

Quel sort malin, quel astre me fit estre 
Jeune h si fol, & de malheur si plein ? 

Suel destin fit que tousiours ie me plain 
e la rigueur d'vn trop rigoureux maistre ? etc. 

11. 13-14. turne : mourne : a correct rhyme, the value 
of the rhyme- vowels being [u]. Cf. burne : mourne 
(i. p. 35, Mad. iv, 11. 11-12), etc. 

Sonnet xxxi, p. 29, 1. 3. besprent : " besprinkled." 
Cf. note to 1. 4, vii, vol. ii. p. 409. 

192 NOTES. 

1. 10. Phare : " lighthouse " ; Fr. phare (cfrdpos;). 

1. ii. this Roche Capharean : Caphareus, a rocky and 
dangerous promontory on the south-east of Euboea, where 
the Greek fleet is said to have been wrecked on its return 
from Troy. 

1. 12. And serue no God who doth his Church-men sterue : 
compare Astrophel and Stella, Son. v : 

Till that good God make church and churchman starve. 

sterue : a Scots form of starve still found to-day in the 
form stirve in the Shetland Isles. By printing " starve," 
modern editions ruin the rhyme with " serve " of 1. io. 

Sonnet xxxii, p. 30. Suggested by the following 
sonnet of Desportes ((Euvres, ed. Michiels, p. 507) : 

Si j'ay moins de pouvoir, plus j'ay de cognoissance, 
Si ma vie est un but immobile aux malheurs, 
Si mon feu se nourrist dans les flots de mes pleurs, 
Si la fin d'un travail d'un autre est la naissance, 

Si rien qu'en des tombeaux nuict et jour je ne pense, 
Si je n'aime que l'ombre et les noires couleurs, 
Si le jour me desplaist, si mes fieres douleurs 
Au repos de la nuict croissent leur violence, 

Si sans scavoir pourquoy je ne fais que pleurer, 
Si du monde inconstant l'on ne peut s'asseurer, 
Si c'est un ocean de misere et de peines, 

Si je n'espere ailleurs ny salut ny secours, 

O mort ! n'arreste plus, romps le fil de mes jours, 
Et meurtris quant et moy tant de morts inhumaines ! 

1. 9. hundreth : an obsolete form of hundred, used 
in Scotland and in the north of England in Drummond's 
time. Cf. vol. i. p. 123, lvii, 1. 7 ; vol. ii. p. 19, 1. 45. 

Sonnet xxxiii, p. 30. Translated from the following 
sonnet by Torquato Tasso (Scielta delle Rime, etc., 1582, 
pt. ii. p. 26) : 

Vinca fortuna homai, se sotto il peso 
Di tante cure al fin cader conviene, 
Vinca, e del mio riposo, e del mio bene 
U empio trofeo sia nel suo tempio appeso 

2 l 


NOTES. 193 

Colei, che mille eccelsi imperi ha reso 
Vili, et eguali a le piu basse arene, 
Del mio male hor si vanta, e le mie pene 
Conta, e me chiama da* suoi strali offeso. 

Dunque natura, e stil cangia, perch' io 

Cangio il mio riso in pianto ? Hor qual piu chiaro 
Presagio attende del mio danno eterno ? 

Piangi, alma trista, piangi, e del tuo amaro 
Pianto si formi un tenebroso rio, 
OP il Cocito sia poi del nostro Inferno. 

Sonnet xxxiv, p. 31. The opening of this sonnet is 
transferred from Pontus de Tyard (CEuvres Poetiques, ed. 
Marty-Laveaux, p. 24) : 

Beaute cruelle, & douceur inhumaine, 
Jui guerroyez sans cesse en mon desir, 
r our esbranler Pespoir du desplaisir 
Qui me trauaille en si plaisante peine, etc. 

1. 9. Let great Empedocles vaunt of his Death : an 
allusion to Empedocles, the Greek philosopher and poet, 
whom a late legend represented as having thrown himself 
into the crater of Aetna, in order that his sudden disap- 
pearance might make people believe that he was a god. 
The truth, however, was said to have been revealed by the 
appearance of his shoes, thrown up by the volcano. 

1. 12. And Dcedals Sonne He nam'd the Samian 
Streames : Icarus, the son of Daedalus, falling into the sea 
near Samos gave to that part of the Mediterranean the 
name of Icarian (Ovid, Metam. viii. 3). 

Sonnet xxxv, p. 31. Adapted, except for the closing 
lines, from the following sonnet by Marino {Rime, 1602, 
pt. i. p. 76) : 

Te 1' Hiperboreo monte, 6 V Arimaspe 

Produsse, Elpinia, il Caucaso, 6 '1 Cerauno : 
Te fra P Hircane tigri, e fra le Caspe 
Sol di tosco nodri Centauro, 6 Fauno. 
Non le dolci beuesti acque di Dauno, 

Ma de la Tana il ghiaccio, 6 de P Idaspe : 
Non tra V agne crescesti in grembo a Cauno, 
Ma in mezzo de la Vipera, e de P Aspe. 

194 NOTES. 

Poich' alpestra qual fera, aspra qual* angue, 
Sol de lo stratio altrui sempre ti cibi, 
Ne curi il tuo pastor, ch' a morte langue. 

O piu crudel, che gli Auoltori e i Nibi, 
Pasciti del mio core, e del mio sangue, 
Pur ch un tuo bacio anzi '1 morir delibi. 

1. I. The Hyperborean Hills, Cer annus Snow : Hyper- 
borei Monies was the mythical name of an imaginary range 
of mountains in the north of the earth, and was afterwards 
applied by geographers to various chains, as, for example, 
the Caucasus, the Rhipaean Mountains, and others. The 
Ceraunii Monies were a range of mountains extending 
from the frontier of Illyricum along the coast of Epirus. 
They derived their name from the frequent thunderstorms 
to which they were exposed. 

1. 5. Orithyas Louer : Orithyia was the daughter of 
Erechtheus, king of Athens, and the wife of Boreas, who 
had carried her off when her father had refused her to 
him in marriage. 

1. 8. ycie Tanais : the river Don. 

Song ii, p. 32, 1. 4. Rowse Memnons Mother from her 
Tythons Bed : Eos, or Aurora, was the mother of Memnon, 
and the wife of Tythonus. 

I. 11. decor e : " decorate," " adorn " ; Fr. decor er. 
The word is common in Mid. Scots, and survives in the 
dialects of certain English counties (Hampshire, Wilt- 
shire, and Dorset), in the form decker or dicker. Compare 
Teares on the Death of Mceliades, 1. 103. 

II. 26-28. 

And thou two sweeter Eyes 

Shalt see than those which by Peneus Streames 

Did once thy Heart surprise — 

Daphne, the beloved of Apollo, was the daughter of the 
river-god Peneus. 

1. 30. As thou when two thou did to Rome appear e. 
Ward quotes the following passage from David Person's 
Varieties, to which, it may be mentioned, Drummond 

NOTES. 195 

contributed two short commendatory poems (see vol. ii. 
p. 170) : 

" During the Consulship of Cornelius Cethegus, and 
Sempronius [b.c. 204], at what time the Africane Warres 
were appointed to Scipio, two Sunnes at one time were 
seene in the Heavens : and the night (which is by nature 
darke) appeared extraordinary light." 

I. 33. A Voyce surpassing farre Amphions Lyre recalls 
Astrophel and Stella, Son. lxviii : 

With voice more fit to wed Amphion's lyre. 

II. 42-43. 

Night like a Drunkard reeles 

Beyond the Hills to shunne his flaming JVheeles — 

borrowed, as Masson has pointed out, from Romeo and 
Juliet (Act ii. Sc. 3) : 

And flecked darkness like a drunkard reels 
Forth from Day's path and Titan's fiery wheels. 

Drummond repeats the simile, in a different form, in the 
" Shadow of the Iudgment " (11. 335-336), comprised in 
Flowres of Sion : 

Yet, frantic, muse to see heaven's stately lights, 
Like drunkards, wayless reel amidst their heights. 

Sir William Alexander also borrowed the idea in the 
third strophe of the Third Houre of his Doomes-Day : 

Now (noe more firme) the firmament doth flie, 
As leaps the deere fled from the hunter's face ; 
Loe, like a drunkard reeles the cristall skie, etc. 

Sonnet xxxvi, p. 33. The movement and central idea 
of this sonnet are taken from Desportes ((Euvres, ed. 
Michiels, p. 120) : 

Celuy qui n'a point veu le printans gracieux, 
Quand il estale au ciel sa richesse prisee, 
Remplissant l'air d'odeurs, les herbes de rosee, 
Les cceurs d'affections et de larmes les yeux. 

196 NOTES. 

Celuy qui n'a point veu par un tans furieux 
La tourmente cesser et la mer appaisee, 
Et qui ne scait, quand l'ame est du corps divisee, 
Comme on peut s'esjouyr de la clart6 des cieux. 

Qu'il s'arreste pour voir la celeste lumiere 

Des yeux de ma deesse, une Venus premiere ; 

Mais que dy-je ? ah ! mon Dieu ! qu'il ne s'arreste pas : 

S'il s'arreste a la voir, pour une saison neuve, 

Un tans calme, une vie, il pourroit faire espreuve 
De gla^ons, de tempeste et de mille trespas. 

1. 5. Who hath not seene that sleeping White and Red, 
etc. For the story of Selene (another of her names was 
Phoebe) and Endymion, see note to 11. 5-6 of Son. viii, 
vol. i. p. 168. According to the usual form of the legend 
Endymion was put to sleep by Selene in order that she 
might enjoy his society undisturbed. 

1. 7. In that Ionian Hill, etc. : Drummond is here 
mistaken in his geography ; Mount Latmus, on which was 
situated the cave wherein Endymion lay asleep, is not in 
Ionia but in Caria, not far, however, from the Ionian 

Sonnet xxxvii, p. 34, 1. 1. Cither ea : Venus, so called 
from Cythera, an island off the south-east point of Laconia, 
colonised at an early time by the Phoenicians, who intro- 
duced the worship of Aphrodite into the island, for which 
it was celebrated. 

1. 5. // thou but Sense hadst like Pigmalions Stone : 
Pygmalion in Greek mythology was a king of Cyprus, who 
became so enamoured of the statue of a maiden which he 
himself was carving in ivory that he implored Aphrodite 
to endue it with life. When the goddess granted his 
prayer, he married the maiden, and she bore him a son 
named Paphos (Ovid, Metam. x. 9). 

Sonnet xxxviii, p. 34. Compare Sonnet lxxxi of 
Amoretti, which is borrowed from Tasso's sonnet, " Bella 
e la donna mia se del bel crine." Drummond had 
evidently also studied the Italian prototype. 

NOTES. 197 

1. 3. Thaumantia : an appellation of Iris (the rainbow), 
as the daughter of Thaumas (Aeneid, ix. 5). 

1. 9. Chloris : wife of Zephyrus, and goddess of 
flowers, identical with the Roman Flora. 

1. 12. Apples Queene : Venus, to whom the apple among 
other plants was sacred. 

Madrigal iv, p. 35, 11. 2-3. 

More light before mine Eyes^ 
Nor when the Sunne from Inde — 

Ward wrongly substitutes " than " for " nor " of the 
original. " Nor " equals " than," and is perhaps the 
commonest form, both in Modern and in Middle Scots, 
after the comparative degree. 

Sonnet xxxix, p. 35. Inspired by Sonnet ciii of 
Astrophel and Stella, describing Sidney's mistress sailing 
on the Thames : 

happy Thames ! that didst my Stella bare. 

1 saw thyself with many a smiling line 
Upon thy cheerful face, Joy's livery wear ; 
While those fair planets on thy streams did shine. 
The boat for joy could not to dance forbear : 
While wanton winds, with beauties so divine 
Ravished ; stayed not, till in her golden hair 

They did themselves (O sweetest prison !) twine, etc. 

Both Sidney and Drummond were no doubt acquainted 
with Tasso's sonnet to his mistress navigating on 
the Po. 

Sonnet xl, p. 36. Apart from more general remin- 
iscences, Drummond would probably not have used the 
same phraseology in this sonnet if Sir Philip Sidney had 
not already addressed Stella's " sweet swelling lips " 
(Son. lxxx), and described them as " cherries " (Son. 
lxxxii) and as " fruits of new-found Paradise " (Son. lxxxi). 
These are no doubt minutiae, but they serve to show that 
the Scottish poet borrowed Sidney's very epithets. The 
final couplet is obviously suggested by the closing lines 

198 NOTES. 

of one of Marino's sonnets in which the general motive is 

similar : 

Che poiche si ver me scarsa ti veggio 
Torna (disse) crudel, dal labro mio 
Prendi indietro il tuo bacio, ecco io nol chieggio. 

Sonnet xli, p. 36, 1. 6. so : " provided that." 
1. 11. sownd : sowne, which is the form invariably 
used by Drummond, is the same word as the Mod. English 
swoon. The M.E. forms were swogh(e)ne(n) , swowene(n), 
swoune(n), also souene, soune. These are forms derived 
from M.E. swoghe(n), swowe(n), from O.E. swogan, " to 
sough/' " make a rushing noise like the wind." The form 
sowne, used by Drummond, is a Scots form ; the English 
Dialect Dictionary cites soun [sun] as a Scots variant of 
sound, a dialectal form of swoon. It may be noted that 
Spenser uses swowne which he rhymes with sowne, 
" sound." 

Madrigal v, p. 37, 1. 5. Paestum : a city of Lucania. 
It was colonised by the Sybarites about 524 B.C., and 
soon became a powerful and flourishing city. Under the 
Romans, however, it gradually sank in importance ; and 
in the time of Augustus it is only mentioned on account 
of the beautiful roses grown in its neighbourhood. 

1. 6. Hybla : there were three towns of that name in 
Sicily. The one here mentioned is probably Hybla Major, 
on the south slope of Mount Aetna. 

1. 7. Enna, or Henna : an ancient town of the Siculi, 
in Sicily, on the road from Catana to Agrigentum. It was 
surrounded by fertile plains which bore large crops of 
wheat, and for that reason probably it was one of the 
chief seats of the worship of Demeter or Ceres, the god of 

1. 8. Tmolus : a celebrated mountain of Asia Minor, 
running east and west through the centre of Lydia, and 
dividing the plain of the Hermus, on the north, from that 
of the Cayster, on the south. 

or where Bore young Adon slew : according to Pro- 

NOTES. 199 

pertius (Elegiarum lib. sec. xiii.A, 1. 54), Idalium, a city 
sacred to Venus in the hills of Cyprus ; according to 
others, Mount Libanon. 

1. 11. blist : " blest " ; now obsolete. 

Sonnet xliii, p. 38. Drummond's model this time is 
Cardinal Bembo (Rime, Venezia, 1540, p. 22) : 

Lieta e chiusa contrada ; ou' io m' inuolo 

Al uulgo, e meco uiuo, et meco albergo j 

Chi mi t' inuidia hor, ch' i Gemelli a tergo 

Lasciando scalda Phebo il nostro polo ? 
Rade uolte in te sento ira ne duolo : 

Ne gli occhi al ciel si spesso e le uoglie ergo ; 

Ne tante carte altroue aduno & uergo, 

Per leuarmi talhor, s' io posso a uolo. 
Quanto sia dolce un solitario stato, 

Tu m' insegnasti ; e quanto hauer la mente 

Di cure scarca, e di sospetti sgombra. 
O cara selua e fiumicello amato 

Cangiar potess' io il mar e '1 lito ardente 

Con le uostre fredd' acque & la uerd' ombra. 

1. 5. snakie Eye : a Sidnaean phrase, taken from the 
Asclepiadikes sung by Dorus at the close of the second 
book of Arcadia : 

O sweet woods the delight of solitarinesse ! etc. 

to which Drummond was also indebted for the composition 
of the present sonnet. 

1. 11. Farre from the madding Worldlings hoarse Dis- 
cords : possibly the model of the well-known line in 
Gray's Elegy : 

Far from the madding crowd's ignoble strife. 

Sextain ii, p. 39, 1. 5. resteth : " remains to be done " ; 
Fr. rester. Now obsolete in that sense. 

1. 10. 2/^ = " thee." 

1. 13. glass'd : " to view the reflection of," " see as in 
a mirror." Cf. vol. i. p. 43, Mad. vii, 1. 8. 

1. 15. In which that Hunter saw the naked Moone : 

200 NOTES. 

Actaeon, the grandson of Cadmus, being fatigued with 
hunting, inadvertently wandered to the vale of Gargaphia, 
the usual retreat of Diana, the goddess of the Moon. 
There he surprised the goddess bathing with her Nymphs, 
who in resentment transformed him into a stag, in which 
shape he was pursued by his own hounds and torn to 
pieces (Ovid, Metam. iii. 3). 

1. 26. Blushing through Scarfe of Clouds on Latmos 
Mountaine is reminiscent of Astrophel and Stella (Son. 
xxh) : 

Having no scarf of clouds before his face. 

Sonnet xliv, p. 40. This rather far-fetched sonnet 
was probably suggested by a similar composition of 
Claude de Buttet, one of the numerous provincial ad- 
herents of the Pleiade, who in 1560 published a sonnet- 
sequence addressed to a fictitious mistress whom he chose 
to call Amalthee. Buttet won no great fame among his 
contemporaries, in spite of the fact that he appears to 
have enjoyed the friendship of Ronsard, and that he is 
mentioned by Pasquier in his Recherches de la France for 
certain metrical innovations. It was probably through 
the medium of that part of Pasquier's Recherches which 
deals with contemporary French literature, of which there 
exists a careful precis in the Hawthornden MSS., that 
Drummond's attention was drawn to Buttet's verse. 
However, previously to Drummond's time, Buttet was 
not unknown in Scotland, and we have it on record that 
his poetical works formed part of the library of Mary, Queen 
of Scots. The theme of the two sonnets is similar, but 
whereas Drummond strikes a mournful note, that of 
Buttet is one of joy (CEuvres Poetiques, ed. Jacob, i. 
p. 120) : 

Fenestre heureuse, ou je vi que s'ornoit 
Si gentement ma terrestre Deesse, 
Entrelacant avec sa longue tresse 
Ses frisons d'or, lors que le jour venoit. 

NOTES. 201 

D'un estomach d^couvert, qui donnoit 
Un doux chatceil, une douce Hesse, 
Tant me charmas au doux mal qui me presse 
Que du plaisir l'ame m'abandonnoit. 

O quel grand bien me fis-tu recevoir 
En ce jardin, mais paradis terrestre, 
Ou de mon dueil le plaisir fut veincueur ! 

Ainsi souvent te puiss£-je revoir, 

Maison d'amour, et toi, douce fenestre, 

Qui lors me cheus pour jamais dans le cueur ! 

1. 5. What mourning Weedes (alas) now do'st thou 
weare ? transferred from Sir Philip Sidney's Arcadia : 

Wear these my words as mourning weeds of woes. 

1. 14. murtKred : the old form with th (O.E. morfior) 
is still commonly found in the sixteenth and seventeenth 
centuries. It occurs dialectally nowadays in Scotland 
and in the north of Ireland. Compare burthen (vol. i. 
p. 14, 1. 195) and burden. 

Sonnet xlv, p. 41. Adapted from the following sonnet 
in the Erreurs Amour euses of Pontus de Tyard (CEuvres 
Poetiques, ed. Marty- Laveaux, p. 106) : 

Sont-ce ces prez ou ma Deesse affable 
Comme Diane allaigrement troussee, 
Chantoit un chant de ma peine pass£e, 
Et s'en rendoit soy-m£me pitoyable ? 

Est-ce cest Orme, ou d'un riz aimable, 
Disant, A dieu gloire de ma pensee, 
Mignardement a mon col enlacee, 
Elle me fut d'vn baiser fauorable ? 

Et dea, 011 est (6 prez defleurez) donq 
Le beau tappiz, qui vous ornoit adonq ? 
Et Phonneur gay (Orme) de ta verdure ? 

Languissez vous pour ma Nymphette absente ? 
Donques sa veue" est elle assez puissante, 
Pour, comme moy, vous donner nourriture ? 

1. 6. Rine = " rind " : an obsolete Northern form found 
in the sixteenth and seventeenth centuries. The original 
form (O.E. rind, rinde) has the final d. 

vol. 1 o 

202 NOTES. 

1. 10. Arras : a rich tapestry fabric in which figures 
and scenes are woven in colours. Derived from Arras, a 
town of Artois, famed for its manufacture of the fabric. 

1. 13. each other = " every other." 

Sonnet xlvi, p. 41. An echo of the following sonnet 
by Ronsard (CEuvres, ed. Marty-Laveaux, i. p. 80) : 

Voicy le bois, que ma sainte Angelette 
Sur le printemps resiouist de son chant : 
Voicy les fleurs 011 son pied va marchant, 
Quand a soy-mesme elle pense seulette : 

Voicy la pree & la riue mollette, 

eui prend vigueur de sa main la touchant, 
uand pas a pas en son sein va cachant 
Le bel email de 1'herbe nouuellette. 
Icy chanter, la pleurer ie la vy, 
Icy sourire, & la ie fu rauy 
De ses discours par lesquels ie des-uie : 
Icy s'asseoir, la ie la vy danser : 
Sus le mestier dVn si vague penser 
Amour ourdit les trames de ma vie. 

I. 4. Colchian Mines : Colchis, a country of Asia, 
bounded on the west by the Euxine, on the north by the 
Caucasus, and on the east by Iberia. 

II. 13-14. 

But (ah) what serud it to bee happie so ? 
Sith passed Pleasures double but new Woe — 

Paget-Toynbee {Dante in English Literature from Chaucer 
to Cary. London, 1909, p. 113) suggests that this familiar 
sentiment, fixed in imperishable form by Tennyson in 
.Locksley Hall, is a reminiscence from Dante's Inferno 
(v. 121-123) : 

Nessun maggior dolore 

Che ricordarsi del tempo felice 

Nella miseria. 

There is very little trace of the influence of Dante in 
Drummond, though he is known to have possessed a copy 
of the Divina Commedia, in the edition published by 
Giolito at Venice in 1555. 

NOTES. 203 

Drummond reverts to the same idea in 11. 77-84 of 
Song i (" Sad Damon being come," etc.) of " The Second 

Sonnet xlviii, p. 42. A reminiscence of Ronsard 
((Euvres, ed. Marty-Laveaux, i. p. 356) : 

Doux cheueux, doux present de ma douce maistresse, 
Doux liens qui liez ma douce liberte, 
Doux filets 011 ie suis doucement arreste, 
Qui pourriez adoucir dVn Scythe la rudesse : 

Cheueux, vous ressemblez a ceux de la Princesse, 

8»ui eurent pour leur grace vn Astre merit6 : 
heueux dignes dVn Temple & d'immortalite, 
Et d'estre consacrez a Venus la Deesse. 
Ie ne cesse, cheueux, pour mon mal appaiser, 
De vous voir & toucher, baiser & rebaiser, 
Vous parfumer de muse, d'ambre gris & de bame, 
Et de vos nceuds crespez tout le col m'enserrer, 
A fin que prisonnier ie vous puisse asseurer 
Que les liens du col sont les liens de Tame. 

1. 1. Haire, precious Haire which Midas Hand did 
straine : Midas, son of Gordius and king of Phrygia, 
renowned for his immense riches. In consequence of 
his kindness to Silenus, the companion and teacher of 
Dionysus, the latter allowed Midas to ask a favour of him. 
Midas in his folly requested that all things which he 
touched should be changed into gold. The request was 
granted ; but as even the food which he touched became 
gold, he begged the god to withdraw his favour. Dionysus 
accordingly commanded him to bathe in the waters of the 
Pactolus. This saved Midas, but from that time the river 
had an abundance of gold in its sand (Ovid, Metam. xi. 3) . 

1. 13. Like Berenices Locke that yee might shine : 
Berenice was the daughter of Magas, king of Cyrene, and 
wife of Ptolemy III. She dedicated her hair in the temple 
of Venus, as an offering for her husband's safe return from 
his Syrian expedition. The hair subsequently disappeared, 
and was reputed to have been transformed into the con- 
stellation known as Berenice's Hair. 

2o 4 NOTES. 

Sonnet 1, p. 44, 11. 9 and 11. alas : chase. The a in 
both words was probably pronounced [a fronted]. Other 
similar pairs are passe : was (i. p. 57, 11. 49-50), cast : 
Waste (i. p. 68, 11. 125-126), Glasse : was (i. p. 99, 11. 7-8), 
swame : same (ii. p. 10, viii, 11. 13-14), wast : waste (ii. p. 20, 
11. 81-82), etc. 

Sonnet li, p. 45. The curious device of constructing 
the sonnet on two rhyme- words only, alternating according 
to rules, Drummond probably found in the following 
sonnet of the Nvove Fiamme of Lodovico Paterno, the two 
rhyme-words being in both instances the same (Nvove 
Fiamme, Lyons edition, 1568, p. 129) : 

Se da vita volar potess* io a morte, 

E con morte cangiar quest' aspra vita -> 
Vera morte non fora hor la mia vita, 
Ch' in vita mi sostien per doppia morte. 

Oh, se mia vita andasse in grembo a morte, 
Non di morte harei tinta hoggi mia vita ; 
Ma morte acquisterebbe, & polso, & vita, 
Vita, in cui perde ogni ragion poi morte, 

Che non t* appressi a dolce morte 6 vita, 
S' hauer vita non puoi qui senza morte, 
Et se morte non fassi altro che vita ? 

Ma tu vita felice, altera morte, 

Che morte hai nome, & sei pur viua vita, 
Porgi a la vita mia si chiara morte. 

Undoubtedly Drummond found an additional induce- 
ment to attempt this metrical tour de force from the fact 
that Sir Philip Sidney, whom he never ceased to look upon 
as a model, had successfully coped with the difficulties it 
presents in Sonnet lxxxix of Astrophel and Stella, and also 
in the sonnet of the Third Book of Arcadia, in which 
Zelmane, sitting in the first entry of the wonderful cave, 
" gave a doleful way to her bitter effects." The last few 
lines of Sidney's sonnet in Astrophel and Stella show that 
Drummond followed Sidney rather than Paterno for the 
rhythm of the piece : 

NOTES. 205 

Suffering the evils both of the day and night ; 

While no night is more dark than is my day 

Nor no day hath less quiet than my night. 

With such bad mixture of my night and day ; 
That living thus in blackest winter night, 
I feel the flames of hottest summer's day. 

Originally the idea seems to have been suggested by the 
fourteenth sonnet of Petrarch's Rime, in which the octave 
is constructed on the two rhyme-words parte and luce. 

We shall have occasion to remark subsequently that 
Drummond reverted to the same artifice in one of the 
sonnets of the Flowres of Sion, and that his model on that 
occasion was probably Du Bellay. 

Sonnet lii, p. 45, 1. 1. Pennes : " feathers," 
" pinions " ; now a poetic archaism. 

Madrigal ix, p. 46, 11. 6-7. 

My selfe so to deceaue 

JVlth long-shut Eyes I shunne the irkesome Light — 

The same idea is found in Canzone xii of Sannazaro's 

Rime : 

Ond' io per ingannarme 

Lungo spazio non volsi gli occhi aprire. 

Sonnet liii, p. 46, 1. 1. / curse the Night, yet doth from 
Day mee hide : Ward changes " doth " of the original to 
" do," but doth should stand, and is to be explained as a 
Scotticism. Cf . note to 1. 16 of Sextain i, vol. i. p. 180. 

1. 2. The Pandionian Birds: "the nightingales/' 
Pandion, king of Attica, had two daughters, Philomela 
and Procne, who when about to be taken by Tereus, 
who was pursuing them with an axe, prayed to the gods 
to change them into birds. Procne was accordingly 
transformed into a nightingale and Philomela into a 
swallow, though some accounts represent her also as 
having been turned into a nightingale. 

Sonnet liv, p. 47. Compare Sonnet vi of Astrophel and 
Stella, obviously aimed at Petrarchists in general. 

206 NOTES. 

11. 1-2. 

., some of the cruell Paine 
Which that bad Crafts-man in his Worke did trie — 

Phalaris, ruler of Agrigentum in Sicily, ordered Perillus 
to construct a brazen bull for him, in which he is said to 
have burnt alive the victims of his cruelty, and of which 
we are told that he made the first experiment upon its 
inventor Perillus. 

1. 6. Phlegrcean Plaine : the burning plain of Phlegra, 
on which the earth-born giants fought with the gods, who 
overcame them by the aid of Hercules. 

I. 9. Phlegethon : a river in the lower world, in whose 
channel flowed flames instead of water. 

II. 9 and 12. Floods : Woods : a correct rhyme, the 
value of the rhyme- vowel being in each case [u]. Similar 
instances are vndone : Moone (i. p. 86, i, 11. 10-12), Roome : 
come (i. p. no, xv, 11. n-12), Blood : Good (i. p. 149, 11. 267- 
268), mood : Blood (ii. p. 13, xiv, 11. 2-3), lowd (loud) : 
Good (ii. p. 22, U. 143-144), Broone (brown) : Moone (ii. 
p. 59, 11. 321-322), etc. 

Sonnet lv, p. 48. The original is the well-known 
sonnet of Petrarch (Rime, pt. i. Son. xcv) : 

Ponmi ove '1 Sol occide i fiori e 1' erba, 
O dove vince lui '1 ghiaccio e la neve ; 
Ponmi ov' e '1 carro suo temprato e leve, 
Ed ov' e chi eel rende o chi eel serba ; 

Ponmi in umil fortuna od in superba, 
Al dolce aere sereno, al fosco e greve ; 
Ponmi a la notte, al dl lungo ed al breve, 
A la matura etate od a Pacerba j 

Ponm' in cielo od in terra od in abisso, 
In alto poggio, in valle ima e palustre, 
Libero spirto od a' suoi membri affisso ; 

Ponmi con fama oscura o con illustre : 
Saro qual fui, vivro com' io son visso, 
Continiiando il mio sospir trilustre. 

In England this sonnet has also been imitated by 
Surrey (Puttenham in his Arte of English Poesie ascribes 

NOTES. 207 

Surrey's version, inadvertently no doubt, to Wyatt), by 
an anonymous writer in the Phoenix Nest (1593), and by 
Philip Ayres and Charlotte Smith in the seventeenth and 
eighteenth centuries respectively ; in France by Jean 
Antoine de Baif ; in Spain by Boscan, whose version 
Drummond had no doubt studied. 

1. 8. leaues to roar : " ceases " to roar ; now archaic in 
that sense. 

1. 11. late : a Scots form of let. 


Sonnet i, p. 51. Another adaptation from Marino, 
with considerable variations in the phraseology, however 
(Rime, 1602, pt. i. p. 146) : 

O d' humano splendor breue baleno : 
Ecco e pur (lasso) in apparir sparita 
L' alma mia luce, e di quagiu partita 
Per far 1' eterno di vie piu sereno. 

Quella, che resse di mia vita il freno, 
Cola poggiata, ond' era dianzi vscita, 
Et al gran Sol, di cui fu raggio, vnita, 
II Ciel di gloria, e me di doglia ha pieno. 

Ma tu (se pur di la cose mortali 
Lice mirar, doue si gode, e regna) 
Mira i miei pianti a le tue gioie eguali : 

E come, oue volasti, anima degna, 

La mia, per teco vnirsi, aperte ha 1' ali, 
E d' vscir con le lagrime s' ingegna. 

1. 9. Let Beautie now be blubbred Cheekes with Teares = 
" Let Beautie now be Cheekes blubbred with Tears." 
Blubber has here the meaning, as not infrequently in the 
Elizabethans, of "to wet profusely," " disfigure with 
weeping," e.g. Spenser, Faerie Queene, n. i. 13 : " Her face 
with teares was fowly blubbered," or Donne (Serm. l. v. 
533) : " God sees Teares in the heart of a man before they 
blubber his face." 

208 NOTES. 

Sonnet ii, p. 52. The opening quatrain is a paraphrase 
from one of Marino's sonnets {Rime, 1602, pt. i. p. 155) : 

Gli occhi leggiadri, a' cui soaui honesti 
Sguardi mill' alme ardean d' alti desiri : 
E da* cui viui e lucidi Zaffiri 
Scorno haueano, e splendor gli occhi celesti. 

The second quatrain is also imitated from a passage in 
another sonnet by the same author (Rime, pt. i. p. 153) : 

Le viue neui, oime, le viue rose, 

E le perle, e i rubini, e Y ostro, e P oro 
Doue, doue son hor ? 

Sonnet iii, p. 52. The two quatrains are translated 
from the twenty-fifth sonnet of Garcilaso (Obras, Madrid, 
1911, p. 234) : 

j Oh hado esecutivo en mis dolores, 
C6mo send tus leyes rigurosas ! 
Cortaste el arbol con manos danosas, 

Y esparciste por tierra fruta y flores. 
En poco espacio yacen mis amores 

Y toda la esperanza de mis cosas, 
Tornadas en cenizas desdenosas 

Y sordas & mis quejas y clamores, etc. 

Sonnet iv, p. 53. Except for the conclusion, trans- 
lated from the seventeenth sonnet of Sannazaro (Opere 
Volgari, 1723, p. 343) : 

O vita, vita no, ma vivo affanno, 

Nave di vetro in mar di cieco errore, 

Sotto pioggia di pianto, e di dolore, 

Che sempre cresce con vergogna, e danno ; 

Le tue false promesse, e '1 vero inganno 
M' han privo si d* ogni speranza il core, 
Ch' io porto invidia a quei che son gia fore, 
Ed ho pieta degli altri che verranno. 

Quando vid' io mai di sereno, o lieto ? 

euando passo quest' alma ora tranquilla ? 
uando il mio cor fu libero, o quieto ? 

NOTES. 209 

Quando sentii mai scema una favilla 

Dell' incendio 'nfelice, ov' io m* acqueto, 
Per piu non ritentar Cariddi, e Scilla ? 

The last three lines are conveyed from the correspond- 
ing lines of the fifteenth sonnet of Sannazaro (ibid. p. 


Un sol rimedio veggio al viver corto ; 
Che avendo a navigar mar si profondo, 
Uom raccolga la vela, e mora in porto. 

Sonnet vi, p. 54. The opening lines are translated 
from Marino (Rime, pt. i. p. 154) : 

Anima bella, che 'n su '1 fior degli anni 
Per arricchir di te 1* Empirea spera, etc. 

But the substance of the whole sonnet, as Ward has 
already pointed out, is evidently borrowed from the 
following, which is also by Marino (ibid. p. 150) : 

Alma gentil, ch' anzi gran tempo V ale 
Lieta spiegasti agli stellanti giri, 
Oil* hor nel diuin Sol vagheggi e miri 
Te stessa, e '1 tuo splendor non piu mortale : 

Deh, se non vieta in Ciel legge fatale 
Talhora in nostri udir bassi desiri, 
A me china le luci, e de' martiri 
Mira lo stuol, ch' ognor per te m' assale. 

E se mole non ergo, oue lasciasti 
La terrestre quagiu lacera spoglia, 
Che degli anni al furor salda contrasti : 

Prendilo in pace, e la pietosa uoglia 

Gradisci, e '1 pianto, ond* io la lauo, e basti, 
Che '1 cor viua Piramide 1' accoglia. 

Madrigal i, p. 54. Translated, with a few variations, 
from the following madrigal by Guarini (Mad. 132 : Rime, 
Venice, 1598, p. 124) : 

Questa vita mortale, 

Che par si bella, e quasi piuma al vento, 
Che la porta, e la perde in un' momento. 
E s* ella pur con temerari giri 
Tal' or s* auanza, e sale ; 

210 NOTES. 

E librata su 1' ale 

Pender da se ne V aria anco la miri ; 

E sol, perche di sua natura e leue : 

Ma poco dura, e 'n breue 

Dopo mille riuolte, e mille strade, 

Perch* ella e pur di terra, a terra cade. 

Sonnet vii, p. 55. Appears to be suggested by one of 
Bertaut's Complaints, of which the first stanza is as follows 
(GEuvres Poetiques, ed. Cheneviere, Paris, 1891, p. 172) : 

Ce n'est point pour moy que tu sors, 
Grand Soleil, du milieu de l'onde : 
Car tu ne luis point pour les morts, 
Et ie suis du tout mort au monde : 
Vif aux ennuis tant seulement, 
Et mort a tout contentement. 

Song i, p. 55, 1. 7. wake : " weak " ; a Scots form, 
representing a fronting of O.E. [a] in wac. Cf. vol. ii. 
p. 182, 1. 6. 

1. 74. proue : " experience " ; a common use of the 
word with the Elizabethans. 

1. 96. Cuban : an obsolete form of " cabin " ; Fr. 
cabane ; M.E. cabane. Here used, as frequently in the 
sixteenth and seventeenth centuries, with the present 
value of the French word (a " hut "). 

1. 117. Hybla : as already noted, there were three 
towns of that name in Sicily. It is doubtful from which 
of these three places came the Hyblaean honey, so fre- 
quently mentioned by the poets. 

I. 123. Or as that Shepheard which I ones Loue did 
keepe : Io, the beautiful daughter of Inachus, and the first 
priestess of Hera at Argos. As Zeus loved her, she was 
changed by the jealousy of Hera into a white heifer, and 
Argus of the hundred eyes was appointed to watch her. 

II. 131-132. beare : heere : probably a correct rhyme, 
the value of the rhyme- vowel being [e ?]. Other cases are 
breake : weake (ii. p. 48, 11. 37 and 39), Aire : heere (ii. p. 56, 
11. 205-206), /£tfr£ : beare (ii. p. 187, 11. 7 and 9), etc. 

NOTES. 211 

Madrigal ii, p. 60. Compare the following madrigal 
in Sir Philip Sidney's Arcadia (p. 479), especially as 
regards the rhythm : 

Why dost thou haste away 

O Titan fair, the giver of the day ? 

It is not to carry news 

To western wights, what stars in east appear ? 

Or dost thou think that here 

Is left a sun, whose beams thy place may use ? 

Yet stay and well peruse, 

What be her gifts, that make her equal thee, 

Bend all thy light to see 

In earthly clothes enclos'd a heavenly spark : 

Thy running course cannot such beauties mark. 

No, no, thy motions be 

Hastened from us with bar of shadow dark, 
Because that thou the author of our sight 
Disdain'st we see thee stain'd with others' light. 

Sonnet viii, p. 60. When composing this sonnet 
Drummond, as is often the case, may have had Sidney in 
his thoughts. Compare the poem in Arcadia (Bk. iii. 
p. 482) beginning : 

My lute within thyself thy tunes enclose, 
Thy mistress's song is now a sorrow's cry, etc. 

1. 4. Ramage : " the song of birds." The only other 
example with this meaning appears to be in Urquhart's 
Rabelais, in. xiii. : " The barking of currs, bawling of 
mastiffs, . . . rammage of Hawks." Fr. ramage. 

Sonnet ix, p. 61. Suggested by Sonnet xlii in Part II. 
of Petrarch's Rime : 

Zefiro torna, e '1 bel tempo rimena, 
E i fiori e 1' erbe, sua dolce famiglia, 
E garrir Progne e pianger Filomena, 
E primavera Candida e vermiglia. 

Ridono i prati, e '1 ciel si rasserena ; 
Giove s' allegra di mirar sua figlia ; 
L' aria e 1' acqua e la terra e d' amor piena ; 
Ogni animal d' amar si riconsiglia. 

i\i NOTES. 

Ma per me lasso, tornano i piu gravi 
Sospiri, che del cor profondo tragge 
Quella ch' al ciel se ne porto le chiavi : 

E cantare augelletti, e fiorir piagge, 
E 'n belle donne oneste atti soavi, 
Sono un deserto, e fere aspre e selvagge. 

1. i. thou turn'st : " thou return'st." Cf. Shakespeare, 
Richard III. iv. 4, 184 : 

Either thou wilt die, by God's just ordinance, 
Ere from this war thou turn a conqueror, 
Or, etc. 

1. 3. The Zephyres curie the greene Lockes of the Plaine 
— borrowed (it is copied down by Drummond in his 
commonplace-book as one of Passerat's striking lines) 
from " L'Hymne de la Paix " of that poet (Passerat, 
Poesies f rang aises, 1880, i. p. 94) : 

Zephire seul souffloit de qui la doulce haleine 
Frisoit mignardement les cheueus de la plaine. 

Sonnet x, p. 61. Suggested, the conclusion excepted, 
by the following sonnet of Desportes ((Euvres, ed. Michiels, 
p. 20) : 

Las ! que me sert de voir ces belles plaines 
Pleines de fruits, d'arbrisseaux et de fleurs, 
De voir ces prez bigarrez de couleurs, 
Et l'argent vif des bruyantes fontaines ? 

C'est autant d'eau pour reverdir mes peines, 
D'huile a ma braise, a mes larmes d'humeurs, 
Ne voyant point celle pour qui je meurs, 
Cent fois le jour, de cent morts inhumaines. 

Las ! que me sert d'estre loin de ses yeux 
Pour mon salut, si je porte en tous lieux 
De ses regards les* sagettes meurtrieres ? 

Autre penser dans mon cceur ne se tient : 
Comme celuy qui la fievre soustient, 
Songe tousjours des eaux et des rivieres. 

Madrigal iii, p. 62. A fairly close translation of one 
of Guarini's madrigals (Rime, 1598, p. 123) : 
Pendeva a debil filo 
(O dolore, o pietate) 

NOTES. 213 

De la nouella mia terrena Dea 

La vita, e la beltate ; 

E gia T vltimo spirito trahea 

L' anima per uscire, 

Ne mancaua a morire altro, che morte j 

Quando sue fere scorte 

Mirando ella si belle in quel bel uiso, 

Disse, morte non entra in Paradise 

Sonnet xi, p. 62, 11. 9-12. 

Now [since made ?nine) deare Napkin doe not grieue 
That I this Tribute pay thee from mine Eine y 
And that [these posting Houres I am to Hue) 
I laundre thy fair e Figures in this Brine — 

manifestly borrowed from the following lines of Shake- 
speare's A Lover's Complaint (printed with the Sonnets, 
1609) : 

Oft did she heave her napkin to her eyne, 
Which on it had conceited characters, 
Laundering the silken figures in the brine 
That season'd woe had pelleted in tears. 

This parallel was first pointed out by a contributor to 
Notes and Queries (28th October, 1876). 
1. 12. laundre : " wash." 

Madrigal iv, p. 63. Translated from one of Torquato 
Tasso's madrigals [Rime, Venice, 1608, pt. iv. p. 99) : 

O vaga tortorella, 
Tu la tua compagnia 
Ed io piango colei, che non fu mia. 
Misera vedovella, 
Tu sovra il nudo ramo, 
A' pie del secco tronco io la richiamo. 
Ma V aura solo, e '1 vento 
Risponde mormorando al mio lamento. 

Sonnet xii, p. 63. The two quatrains are translated 
from one of Torquato Tasso's sonnets [ibid. pt. ii. p. 24) : 
Come in turbato Ciel lucida Stella 

Lampeggiar suol con chiome aurate, e bionde 
Che mentre illustra questa parte e quella, 
Invida ed atra nube in sen Y asconde ; 

2i 4 NOTES. 

Cos! fra noi splendesti, anima bella, 

Nel fosco orror, ch* intorno or si diffonde ; 
Ma chiuse il tuo splendor Mort' empia e fella, 
Ne piu tal lume in noi deriva altronde, etc. 

The rest of the sonnet is borrowed from the tercets of 
another sonnet of Tasso (ibid. pt. iii. p. 50) : 

Deh, qual fia piu, che di ueder bellezza 
Vera tra noi si uanti, o speme porte, 
D' alzarsi amando a la celeste altezza ? 

Se T istessa belta, languendo, more 
Nel tuo bel volto, e rintuzzate Morte 
Spiega ne* suoi trofei V armi d' Amore ? 

Madrigal v, p. 64, 1. 5. Oft calles = " oft [I] call." 
Cp. note to Sextain i, vol. i. 1. 16, p. 180. 

Song ii, p. 65, 1. 2. Faire Ericyne : Venus, so called 
from Mount Eryx or Erycus, a steep and isolated mountain 
in the north-west of Sicily, on the summit of which stood 
an ancient temple of Aphrodite, said to have been built by 
Eryx, king of the Elymi, or, according to Virgil, by Aeneas. 

1. 25. Vmbrage : " shade." 

1. 35 et seq. The whole of this passage is amplified in 
A Cypresse Grove. 

I. 53. aduance : " precede." 

II. 85-86. Worth : forth : a correct rhyme, the [o] of 
Worth not being affected by the w. Cf. Word : Lord (ii. 
p. 62, 11. 4 I 3-4 I 4)- 

1. 180. To leaue this loathsome Iayle of Care and Paine : 
by " Iayle " Drummond means the body, in which, 
according to Plato's Phaedo, we are placed "as in a 
certain prison." 

1. 186. Trauell = " travail " : " labour," " toil." 

1. 188. Hue thrall : " live enthralled," " enslaved." 
Thrall is now archaic and obsolete as an adjective. 

1. 197. leaue that Loue which reacheth but to Dust — 
borrowed from Sir Philip Sidney, one of whose sonnets 
opens with the line : 

Leave me, O love ! which reachest but to dust. 

NOTES. 215 

1. 213. mazing : " causing confusion " or " bewilder- 
ment " ; rarely found after the early seventeenth century. 

1. 220. musters : " shows," " is displayed " ; now 
obsolete in that sense. From O.F. mostrer, monstrer 
(monstrare), which appears later in the learned form 
monstrer, whence French montrer. 

1. 242. lamping : " flashing," " resplendent." 


Composed in memory of King James's eldest son, Henry, 
Prince of Wales, heir apparent to the throne, who died on 
the 6th of November 1612, in his eighteenth year. 

This, Drummond's first printed poetic utterance, is 
redolent of Sidnaean imagery — " Sidnaean showers of 
sweet discourse," to apply Crawshaw's metaphor. In 
the following passage, for example, Drummond's model is 
at once seen to be the " song of lamentation " uttered by 
one of the Arcadians at the loss of Basilius, not only in 
the repetition at given intervals of certain verses driving 
home the mournful tenor of the whole piece, but in specific 
verses, in which are cleverly interwoven Sidney's very 
epithets and expressions : 

11. 119-142. 

Mceliades sweet courtly Nymphes deplore, 
From Thuly to Hydaspes pear lie Shore. 

Delicious Meads, whose checkred Plaine foorth brings, 
White, golden, azure Flowres, which once were Kings, 
In mourning Blacke, their shining Colours dye, 
Bow downe their Heads, whilst sighing Zephyr es flye. 
£)ueene of the Fields, whose Blush makes blushe the Morne, 
Sweet Rose, a Princes Death in Purple mourne. 
O Hyacinthes, for ay your AI keepe still, 
Nay, with moe Markes of Woe your Leaues now fill : 
And you, O Flowre of Helens Te ares first borne, 
Into those liquide Pearles againe you turne. 

216 NOTES. 

Tour gr eerie Locke s^ Forrests^ cut^ in weeping Afyrrhes, 

The deadly Cypresse y and Inke-dropping Firres^ 

Tour Palmes and Mirtles change ; from Shadowes darke 

Winged Syrens waile^ and you sad Ecchoes marke 

The lamentable Accents of their Mone y 

And plaine that braue Mceliades is gone. 

Stay Skie thy turning Course^ and now become 

A stately Arche^ vnto the Earth his Tombe : 

Ouer which ay the watrie Iris keepe^ 

And sad Electras Sisters which still weepe. 

Mceliades sweet courtly Nymphes deplore^ 

From Thuly to Hydaspes pear lie Shore. 

The corresponding passage in Sidney's Arcadia (p. 572) 
is this : 

The weeping myrrh I think will not deny 
Her help to this, this justest cause of plaint. 
Your doleful tunes sweet Muses now apply. 

Let pearls be wan with woe their dam doth bear ! 

Thyself henceforth the light do never see, 

And you, O flowers, which sometimes princes wear, 

Tell these strange alt'rings you did hap to try, 

Of princes' loss yourselves for tokens rear. 

Lily in mourning black thy whiteness die : 

O Hyacinth let AI be on thee still, 

Your doleful tunes sweet Muses now apply. 

O Echo, all these woods with roaring fill, 
And do not only mark the accents last, 
But all, for all reach out my wailful will : 
One Echo to another Echo cast. 

And well methinks becomes this vaulty sky 
A stately tomb to cover him deceased. 
Your doleful tunes sweet Muses now apply. 

It may be noticed that in Mceliades a couplet is re- 
peated, whereas in Sidney's lament only a single verse. 
The device of repeating a couplet at given intervals had 
already been used, in his elegy entitled " Adonis," by 

NOTES. 217 

Ronsard, with whose verse both Sidney and Drummond 
were well acquainted. Such repetitions, serving a similar 
purpose, are very frequent in the Nvove Fiamme (1561) of 
Lodovico Paterno, of which Drummond possessed a copy. 
Teares on the Death of Moeliades also contains remini- 
scences of Sidney's Astrophel and Stella. Sidney says in 
Sonnet lxxiv : 

I never drank of Aganippe well ; 
Nor never did in shade of Tempe sit, 

which the Scottish poet duly re-echoes in 11. 97-98 : 

Chaste Maides which haunt fair Aganippe Well, 
And you in Tempes sacred Shade who dwell. 

Because Night, in Sonnet xcvii of Astrophel and Stella, 


Silent and sad in mourning weeds doth dight, 

therefore, in the Death of Moeliades (1. 150), she 
Euer appear es in mourning Garments dight. 

I. 23. Flourish : cf. note on 1. 28 of Song i, vol. i. p. 171. 

II. 45-46. Starve : Warre : a correct rhyme ; the pro- 
nunciation of the a in both words was probably [a]. 
Other cases are marre : Warre (i. p. 89, ii, 11. 2-3), Arme : 
warme (i. p. 116, xli, 11. 7-8), declare : are (i. p. 143, 11. 41- 
42), charmes : warmes (i. p. 150, 11. 281-282), Care : are 
(ii. p. 31, xxiii, 11. 2-3), rewarde : reguard (ii. p. 175, iv, 11. 
2 and 4). 

11. 47-48. 
Or as braue Burbon thou hadst made old Rome, 
^ueene of the World, thy Triumphs Place, and Tombe ! — 

an allusion to the famous Constable de Bourbon (1490- 
1527). Though Bourbon's bravery is unquestioned (he 
received his title of Constable for his conspicuous valour on 
the field of Marignano), Drummond's mention of him in 
this connection is somewhat surprising ; Bourbon is re- 
membered principally for his military exploits against his 
own country, for which, as tradition has it, he incurred the 
vol. 1 p 

218 NOTES. 

dying Bayard's indignant reproach. He was one of the 
leaders of the mixed army of Spanish and German mercen- 
aries that stormed and plundered Rome in 1527, and 
received his death-wound in the victorious assault upon 
that city, on the 6th of May in that year. 

1. 51. Nephew es : in the sense of the Latin nepotes, 
" grandchildren." 

I. 57. imping Pennes to Fame : imp means properly to 
" graft/' " engraft " (O.E. impian, O.H.G. imp/on, Ger. 
imp/en) ; now obsolete. Hence " to imp a wing or bird 
with feathers " : " to strengthen," or " improve the 
flight of." This meaning is not uncommon in the six- 
teenth and seventeenth centuries. 

II. 62-63. 

shee whose Name apalles 
Both Titans golden Bowres. 

By "shee" is meant Rome. The "golden Bowres" of 
Titan are the East, where he rises, and the West, where 
he sets. 

Sir William Alexander has the same image in Sonnet 
xvi of his sonnet-cycle Aurora (1604) : 

I with her praise both Titan's bowers should fill. 

1. 70. Thuly : an island in the north part of the German 
Ocean, regarded by the ancients as the most northerly 
point in the whole earth, and by some supposed to have 
been Iceland ; by others, one of the Shetland group. 

I. 77. Cyclades : a group of islands in the Aegean Sea, 
so called because they lay in a circle around Delos, the 
most important of them. 

II. 93-94. 

His Reed Alexis hung vpon a Tree^ 

And with his Teares mad* Doven great to bee — 

a reference to Sir William Alexander, Drummond's fellow- 
bard, who likewise wrote a lament on the death of 
Henry, Prince of Wales, entitled An Elegie on the Death 

NOTES. 219 

of Prince Henrie, of which the first edition appeared in 
1612, immediately after young Henry's death. 

Doven : now called " Devon/' a river of the counties 
of Perth, Kinross, Clackmannan ; rises among the Ochil 
Hills, and falls into the Forth at Cambus, two and a half 
miles N.W. of Alloa. Menstrie, the birthplace and 
country residence of Sir William Alexander, is situated 
four miles N.W. of Alloa, and therefore quite close to the 

1. 103. decor' d : cf. note on Song ii, vol. i. 1. 11, p. 194. 

1. 106. floting Delos : the smallest of the Cyclades. 
According to a legend, it was called out of the deep 
by the trident of Poseidon, but was a floating island 
until Zeus fastened it by adamantine chains to the 
bottom of the sea, that it might be a secure resting-place 
to Leto for the birth of Apollo and Artemis. 

1. 107. Acidalian Archers : " Cupids." For (< Acidalian " 
as an epithet of Venus see note to Song i, vol. i. 1. 32, p. 171. 

I. 122. White, golden, azure Flowres, which once were 
Kings : the anemone, narcissus, and hyacinth. Cf. note 
to 1. 7 of Son. xvii, vol. i. p. 184. 

II. 127-128. 

Hyacinthes, for ay your AI keepe stilly 

Nay, with moe Markes of Woe your Leaues now fill — 

cp. note to Song i, 1. 234, p. 176. 

1. 140. And sad Electras Sisters which still weepe : 
Electra was one of the seven Pleiades, the daughters of 
Atlas and the Ocean-nymph Pleione. Out of grief, either 
for the fate of Atlas or for the death of their sisters, the 
Hyades, they killed themselves, and were placed among 
the constellations. According to another legend, they 
were pursued for five years by the giant hunter Orion, 
until Zeus turned the distressed nymphs and their pursuer 
into neighbouring stars. In the first edition of Teares on 
the Death of Meliades (1613) this line reads : 

And soft-eyed Pleides which still doe weepe. 

220 NOTES. 

11. 187-188. While . . . remaine: while meaning "till," 
still used dialectally, is found fairly frequently in Eliza- 
bethan English, and is sometimes followed by the sub- 
junctive, as here, or as in this example from Ben Jonson : 

And want some little means 
To keep me upright, while things be reconciled. 

The Devil is an Ass^ i. 2. 

I. 191. Bootes : another name for Arcturus, the con- 
stellation before the Great Bear. 

Sonnet, p. 82, 1. 14. In whome (saue Death) nought 
mortall was at all. Guarini has the same conceit in 
one of his madrigals (Rime, 1598, p. 124, v°) : 
Ne di mortal hauesti altro, che morte. 

Epitaph, p. 83. This epitaph first appeared in the first 
edition of the Teares on the Death of Meliades, 1613, in a 
form differing considerably from the present one. It 
next appeared in Mavsolevm, in very much the same form 
as here. 

The first eight lines are an amplification of a sonnet by 
Torquato Tasso, " Al Sepolcro di Alfonso I " (Rime, 
Venice, 1608, pt. ii. p. 90) : 

Fermati, o tu, che passi : e qui sotterra 
II grand' Alfonso, io dico il mortal velo 
Che '1 nome, e 1' alma termine non serra, 
Ma P un riempie il mondo, e P altra il Cielo. 


that sweet Flowre that beares^ 

In Sangvine Spots the Tenor of our Woes — 

Milton seems to have had this line in mind when he 
wrote in Lycidas, 1. 106 : 

Like to that sanguine flower inscribed with woe. 
Pyramid, p. 84. The matter of this curious piece is 
borrowed from one of Passerat's sonnets (Poesies Fran- 
gaises, ed. Blanchemain, ii. p. 77) : 

Que scauroit-on trouuer 6s veines de la terre 
Pour luy faire vn tombeau tel qu'elle a merits ? 

NOTES. 221 

eui sera l'artizan plein de temerit£ 
ui ose Pentreprendre, & en taille la pierre ? 

Vn Roy, non vn graueur, cest honneur doit acquerre, 
Consacrant sa memoire a Pimmortalit6 : 
Digne elle est d'vn ouurier de telle quality : 
La terre en son gyron rien de pareil n'enserre. 

Des yeux, & non des mains, ie luy dresse vn tombeau, 
Ou l'on voye a trauers ce corps qui fut si beau : 
Ie le fay du crystal de mes larmes glacees. 

Le Dieu qui dVn seul trait enferra nos deus coeurs 
Encore apres sa mort se nourrit de mes pleurs, 
Et veut que mes amours soient en pleurs enchassees. 

It is not unlikely that Drummond read about such 
puerilities as the " pyramis," the " fuzie," the " lozange," 
and the like, in the Arte of English Poesie attributed to 


Of the thirteen poems published under this rubric, ten 
were republished, with certain alterations, by Drummond 
in his Flowres of Sion. 

Sonnet i, p. 86. The opening lines were doubtless 
suggested by the well-known sonnet, variously attributed 
to Castiglione and to Giovanni Guidiccioni : 
Superbi colli, e voi sacre ruine, 

Che '1 nome sol di Roma ancor tenete, 
Ahi che reliquie miserande avete 
Di tant' anime eccelse e pellegrine ! 
Colossi archi teatri opre divine 
Trionfal pompe gloriose e liete, 
In poco cener pur converse siete, 
E fatte al vulgo vil favola al fine, etc. 

Sonnet ii, p. 8y, 11. 9-12. 

Hencefoorth on thee mine only Good I 9 II thinke, 
For only thou canst grant what I doe craue, 
Thy Naile my Penne shall bee, thy Blood mine Inke, 
Thy Winding-sheet my Paper, Studie Graue — 

222 NOTES. 

These lines are borrowed from one of Desportes' " Sonnets 
Spirituels ,J (CEuvres, ed. Michiels, p. 503) : 

Seigneur, d'un de tes cloux je veux faire ma plume, 
Mon encre de ton sang, mon papier de ta croix, 
Mon subject de ta gloire, et les chants de ma voix 
De ta mort, qui la mort eternelle consume. 

By putting a comma after " study " in 1. 12, Ward appears 
to us to destroy the meaning. 

Sonnet iii, p. 87. A close paraphrase of another of 
Desportes' " Sonnets Spirituels " (CEuvres, ed. Michiels, 

P- 504) : 

Sur des abysmes creux les fondemens poser 
De la terre pesante, immobile et feconde, 
Semer d'astres le ciel, d'un mot cr£er le monde, 
La mer, les vens, la foudre a son gre* maistriser, 

De contrarietez tant d'accords composer, 
La matiere difforme orner de forme ronde, 
Et par ta prevoyance, en merveilles profonde, 
Voir tout, conduire tout, et de tout disposer, 

Seigneur, c'est peu de chose a ta majeste haute ; 
Mais que toy, cr&iteur, il t'ait pleu pour la faute 
De ceux qui t'offensoyent en croix estre pendu, 

Jusqu'a si haut secret mon vol ne peut s'estendre j 
Les anges ny le ciel ne le scauroyent comprendre ; 
Apprens-le-nous, Seigneur, qui Tas seul entendu ! 

Sonnet iv, p. 88. Translated for the most part from 
the following sonnet by Marino (Rime, 1602, pt. i. p. 195) : 

Vscite vscite a rimirar pietose 

Schiere del Paradiso cittadine 

II vostro Re schernito ; e qual su '1 crine 

Nouo, e stranio diadema Amor gli pose : 
Da le tempie trafitte, e sanguinose 

II viuo humor de le purpuree brine 

Voi rasciugate ; e da T acute spine 

Venite a cor le gia cadenti rose. 
E voi, felici voi, s' vna di quelle 

Punte, ch' al Re del Ciel passan la testa, 

Sentirete in voi stesse, anime belle. 

NOTES. 223 

Ben potrai tu mio cor, cinto di questa, 
La corona sprezzar, che '1 Ciel di stelle, 
E che di raggi il Sol porta contesta. 

1. 9. Empyrean : " formed of pure fire or light " ; 
" pertaining to the highest and purest region of heaven " ; 
" sublime." 

The last two lines are in so-called " vers rapportes," or 
" reported " verses, a device found occasionally in the 
Italian poets of the sixteenth century, and more com- 
monly in their French contemporaries. The following 
piece, sung by Philoclea in Book III. of Arcadia (p. 497), 
will show how far this kind of thing could be carried : 

12 3 12 3 

Virtue, beauty, and speech, did strike, wound, charm, 

12 3 12 3 

My heart, eyes, ears, with wonder, love, delight : 

1 2 31 2 3 

First, second, last, did bind, enforce and arm, 

1 2 3 12 3 

His works, shows, suits, with wit, grace and vows might, 

12 3 12 3 

Thus honour, liking, trust, much, far, and deep, 

12 3 1 2 3 

Held, pierc'd, possess'd, my judgment, sense and will. 

1 2 3 12 3 

Till wrong, contempt, deceit did grow, steal, creep, 

123 12 3 

Bands, favour, faith, to break, defile and kill, 

1 2 8 12 3 

Then grief, unkindness, proof, took, kindled, taught, 

1 2 3 12 3 

Well-grounded, noble, due, spite, rage, disdain 

123 i' ... a 3 

But ah, alas ! (in vain) my mind, sight, thought, 

1 ■ t 3 12 3 

Doth him, his face, his words, leave, shun, refrain, 

12 3 12 3 

For no thing, time, nor place, can lose, quench, ease, 

1 2 3 12 3 

Mine own, embraced, sought, knot, fire, disease. 

This sonnet of Sir Philip Sidney's, it may be noted, is 
copied out in full by Drummond in vol. vii. of the 
Hawthornden MSS. Drummond also had a copy of Les 
Bigarrures et Touches (1585) of Tabourot, in which a whole 

224 NOTES. 

chapter is devoted to " vers rapport es." Other examples 
of this trick are found in Spenser (Amoretti, lvi, 11. 13-14), 
in Davison's Poetical Rhapsody (ed. Bullen, ii. p. 116), and 
in several of Montgomerie's sonnets. 

Sonnet v, p. 89. A close paraphrase, the concluding 
lines excepted, of the following sonnet by Marino (Rime, 
1602, pt. i. p. 188) : 

Se di tante bellezze adorno, e pieno 

Questo, c' ha il suol per base, il Ciel per tetto, 

Palagio ampio formo P alto Architetto, 

Bassa magion d' habitator terreno : 
Deh quanti, e quai del lume suo sereno 

Debbe raggi raccorre in quel, ch' eletto 

Ab eterno a se stesso hauea ricetto ? 

In lei, che deuea poi chiuderlo in seno ? 
O puro albergo del possente Dio, 

Da le cui chiuse porte ignudo a guerra 

Contro nemici si feroci vscio : 
Quante P eterna man versa, e disserra 

Gratie in milP altre, in te soP una unio : 

Fosti pria Diua in Ciel, che* Donna in terra. 

Sonnet vi, p. 90. The opening lines appear to have 
been suggested by the eleventh sonnet of Sir William 
Alexander's Aurora : 

Ah, that it was my fortune to be borne, 
Now in the time of this degener'd age, 
When some, in whom impietie doth rage, 
Do all the rest discredit whilst they scorne. 
And this is growne to such a custome now, 
That those are thought to haue the brauest spirits, 
Who can faine fancies and imagine merits, etc. 

1. 11. vildely : Ward modernises wrongly to " vilely " ; 
but vild existed by the side of vile in Elizabethan English. 

Sonnet vii, p. 90. Translated from the following 
sonnet by Marino (Rime, 1602, pt. i. p. 177) : 

Felice e ben chi selua ombrosa e folta 
Cerca, e ricoura in solitaria vita : 

NOTES. 225 

Iui mai non e sola alma romita, 
Ma fra gli angeli stassi a Dio riuolta. 

O quanto la piu uolentier s' ascolta 
Di semplicetto augel uoce gradita, 
Che 'n regio albergo, ou' e la fe mentita, 
Vanto di turba adulatrice, e stolta. 

Quanto e piu dolce vn uenticel di bosco, 
Ch' aura uana d* honor : quanto tra' fiori 
D' argento un rio, che 'n uasel d' oro il tosco. 

Hanno i sacri silentij, e i muti horrori 

Armonia uera, e pace ; e P ombra, e '1 fosco 
Mille uiui del ciel lampi, e splendori. 

Madrigal iii, p. 91. A condensation and transmuta- 
tion of the ante-penultimate sonnet of Marino's " Rime 
Morali " (Rime, 1602, pt. i. p. 182) : 

Quanto da quel di pria Francesco mio 
Varia e la nostra eta. Piu, qual solea, 
Non alberga fra noi la bella Astrea, 
Ma con P altre compagne al Ciel sen gio. 

O se pur viue in questo secol rio, 
Non e (qual dianzi fu) Vergine Dea, 
Ma meretrice mercenaria, e rea, 
Corrotta da vilissimo desio. 

Le lance, use a librar P humana sorte 
Con giusta legge, hor da P usanze prime 
Per troppo ingorda passion son torte. 

E la spada, ch' al Ciel dritta, e sublime 
Volgea la punta, in giu riuolta hor morte 
Minaccia a P egro, e P innocente opprime. 

1. 1. Astrea : daughter of Zeus and Themis, and god- 
dess of justice, lived during the golden age among men ; 
but when the wickedness of men increased, she withdrew 
to heaven, and was placed among the stars. 

I. Great God, whom wee . . ., p. 92, 1. 22. seeme: 
" beseem." 

1. 66. This loathsome Shop of Sinne, and Mansion 
blinde. It may be noted that Sir Philip Sidney also has 
a " mansion blind*' and a " shop of shame " in Arcadia 
(p. 187). 

226 NOTES. 

To the Author, p. 95. The author of this sonnet is 
Sir David Murray of Gorthy, one of the Scottish court 
poets of the time. For further particulars on Murray of 
Gorthy refer back to Notes, vol. i. p. 158. 


I. The Statue of Medusa, p. 99. Probably suggested 
by the following epigram of Antonio Tebaldeo (1456- 
1537), one of the principal poets of the Quattrocento, who 
also composed a good deal of Latin verse (Deliticz Poetarum 
Italorum, 1608, vol. ii. p. 1151) : 

In Medusje Caput. 

Exemptam medi& de Palladis aegide dicas 
Gorgona, quam parvo claudit in orbe lapis. 
Quin et monstrifici perstant miracula vultus ; 
vivit, et innumero palpitat angue caput. 
Tarn similis non ipsa sibi est ; se forsitan olim 
Vidit, et a speculo saxea facta suo est. 

I. 3. None Image : as an adjective none is now archaic ; 
after 1600 it is almost entirely supplanted by the reduced 
form no. Cp. vol. i. p. 109, xxii, 1. 9. 

II. The Trojane Horse, 11. 1-2. whom Bit . . . 
not feare : fear as a transitive verb meaning " to inspire 
with fear " is now obsolete or vulgar. 

III. A Louers Heauen, p. 100. Condensed from 
Madrigal xli by Marino {Rime, 1602, pt. ii. p. 57) : 

Celia, il tuo viso angelico sereno 
Puo dirsi un Ciel terreno. 
Le tue guance 1* Aurora 
De le sue rose, e de* suoi gigli infiora. 
Ne' begli occhi lampeggia 
Lo splendor de le stelle, anzi del Sole. 
Ne la fronte biancheggia 
II bel candor de la stellata uia, 

NOTES. 227 

La celeste armonia 

S' ode ne le dolcissime parole. 

S' un Ciel reggessi di bellezze tante 

Fra queste braccia, o me felice Atlante. 

IV. Deepe Impression of Lone, p. 100. Adapted 
from the following madrigal by Mauritio Moro (/ Tre 
Giardini de' Madrigali, Venetia, 1602, pt. i. p. 44) : 

Huom che rabbioso cane habbia ferito, 
In chiaro fiume, in fonte, 
Scorge del feritor 1' irata fronte, 
Cosl '1 tiranno ardito 
D* Amor fero, e possente, 
Che nel mio core afflitto impresse il dente, 
In flumi, in limpid' acque, 
Mostra '1 mio feritore, e chi mi piacque. 

V. The Pourtrait of Mars and Venvs, p. 101, 1. 1. 
Faire Paphos wanton Queene : Old Paphos, on the west 
coast of Cyprus, was the chief seat of the worship of 
Aphrodite, who is said to have landed at this place after 
her birth among the waves. 

VI. Iolas Epitaph, p. 101. Adapted from Madrigal 
cxxxiii by Guarini (Rime, 1598, p. 125) : 

Epitafio di Pargoletta Violante. 

Se vuoi saper chi sono 

O tu, che miri la breu* vrna ; piagni. 

Spuntera dal mio cenere, se '1 bagni 

D' vna tua lagrimetta, 

Vn* odorata, e vaga violetta, 

E cosl dal tuo dono 

Intenderai chi sono. 

H. 3-4- 

That Boy^ whose heauenly Eyes 
Brought Cypris from aboue — 

Aphrodite is not infrequently called Cypris or Cypria from 
the fact that Cyprus was one of the chief seats of her 
worship. The reference in the first line is to Adonis, the 

228 NOTES. 

beloved of Aphrodite, who died wounded by a boar while 
hunting. As Aphrodite would not give up her darling, and 
Persephone had also fallen in love with him, Zeus decreed 
that Adonis should pass upon the earth half the year with 
one and half with the other goddess. 

VII. Vpon the Death of a Linnet, p. 102, 1. 7. that 
Samians sentence : the famous Greek philosopher Pytha- 
goras, born on the island of Samos about 580 B.C., who is 
reputed to have first formulated the doctrine of the trans- 
migration of souls. 

1. 8. of new : " of late," " recently *' ; now obsolete. 

IX. Icarvs, p. 103, 1. 10. resound : " proclaim," 
" repeat loudly " (one's praises, etc.) ; now obsolete. 

XI. Of Thavmantia, beholding her selfe in a Marble, 
p. 104. Drummond probably had in mind the following 
trifle by Passerat (Poesies fvancaises, ed. Blanchemain, 
ii. p. 138) : 

D'elle mesme, se mirant en vn Marbre. 

De sa ieune beaut6 si ie suis tant espris, 
Et si en mon cceur tendre elle entre par la veiie", 
Ce n'est pas grand' merueille, & n'en seray repris, 
Puis que le marbre dur dedans soy Pa receug. 

XIII. Sleeping Beautie, p. 105, 11. y-8. 

Sunnes, if ecclips'd yee haue such Power diulne ? 
O / how can I endure you when yee shine ? — 

The same conceit, applied to his mistress's eyes, is found 
in Guarini's twelfth madrigal (Rime, 1598, p. 63) : 

Se chiusi m' vccidete, 
A pert i che farete ? 

XV. Of Phillis, p. 106. Again borrowed from 
Marino (Rime, pt. ii. p. 44) : 

Mentre Lidia premea 
Dentro rustica coppa 
A la Lanuta la feconda poppa, 
V stava a rimirar doppio candore 

NOTES. 229 

Di Natura, e d* Amore : 

Ne distinguer sapea 

II bianco humor da le sue mani intatte, 

Ch' altro non discern ea, che latte in latte. 

11. 3-4. Oake : Flocke : according to the standard 
Elizabethan pronunciation this would be an imperfect 
rhyme [0:0]. Cf. got : Boat (i. p. 116, xl, 11. y-8), Hope : 
Tope (ii. p. 58, 11. 299-300), etc. 

XVI. Kisses desired, p. 106, 11. 5-6. As hee . . . 
From Lesbia them in thousands did receaue : Catullus, the 
great Roman lyric poet (87-c. 54 B.C.), some of whose most 
beautiful poems are inspired by his love for a lady whom 
he addressed as Lesbia, and who has been identified with 
the beautiful and gifted, but unprincipled, sister of the 
notorious Claudius. 

XIX. Apelles enamour'd of Oampaspe, etc., p. 107, 
1. 1. Poore Painter, etc. : Campaspe, the favourite concu- 
bine of Alexander, is said to have been the model of the 
famous Venus Anadyomene of Apelles. 

XXIV. To Thavmantia singing, p. 109, 1. 10. As not 
to let mee turne Aspe to thy song : it was a popular belief 
that the asp was deaf. In one of his sonnets (" Cerchio 
gentil," etc.) Bernardo Tasso calls his mistress 

Sorda piii ch' aspe, e piu lieue che foglia. 

XXV. Of her Dog, p. no. Suggested by a sonnet of 
Marino (Rime, 1602, pt. i. p. 34) : 

Mentre nel grembo a trastullar ti stai 
De la mia Donna humilemente altero 
Vezzoso animaletto, e lusinghiero, 
Ond* inuido, e geloso altrui ne fai : 

Ardo, e vie piu nel cor, lasso, che mai 
Sento T vsato ardor possente, e fero, 
Forse pero, che '1 mio Sol viuo, e vero, 
Vibra nel Can vie piu cocenti i rai, etc. 

1. I. clips : " clasps with the arms," " embraces," 
" hugs " ; now archaic and dialectal. 

230 NOTES. 

XXVIII. Of Amintas, p. in. Ward instances in 
comparison the following epigram by Francesco Pani- 
garola (Delitice Poet. Ital. vol. ii. p. 176) : 

De Iola. 
Cum nudum lymphis se credere vellet Iolas, 

EfHgiem fonti vidit inesse suam : 
Nee semet noscens, comites io currite, dixit, 

Depositis alis ecce Cupido natat. 

1-3- Of popling Streames to see the restlesse Course : 
the verb popple, meaning " to bubble up," " boil up," 
is now obsolete, but still found in Scots. Cf. Scott, 
Heart Midi, xviii. : " The bits o' bonny waves that are 
popling and plashing against the rocks." Ward, follow- 
ing Phillips, unwarrantably adopts " purling " instead of 
" popling." 

11. 9-10. 

The Boy of whom strange Stories Shepheards tell 
{Oft -called Hylas) dwelleth in this Well — 

Hylas, son of Theiodamas, was a favourite of Heracles, 
whom he accompanied on the Argonautic expedition. 
When Heracles disembarked on the coast of Mysia to cut 
himself a fresh oar, Hylas followed him, in order to draw 
water from a certain fountain, the Nymphs of which drew 
the beautiful youth into the fountain, and Heracles long 
sought for him in vain. 

XXIX. Pamphilvs, p. ill. An allusion to the 
Pamphilus of Sir Philip Sidney's Arcadia, whose in- 
constancy was punished by the ladies whom he had 

XXXI. Of a Bee, p. 112. Translated from a madrigal 
of Torquato Tasso (Rime, Venetia, 1608, pt. iv. p. 104) : 

Qual cavagliero ardito 
A le famose prove 
II sonoro metallo accende, e move ; 
Tal zenzaretta fiera 
Zuffola intorno, e vola, 
E vi percuote poi la bianca gola. 

NOTES. 231 

O mirabil guerriera, 
In cui natura giunge 
La tromba a V arme, ond' ella suona, e punge. 

XXXIII. Of a Kisse, p. 113. Adapted from another 
madrigal of Torquato Tasso (Delle Rime et Prose, Venetia, 

1583, P- 53) : 

Ne i vostri dolci baci 

De 1' api e il dolce mele, 

E vi e il morso de 1' api anco crudele. 

Dunque addolcito e punto 

Da voi parto in un punto. 

XXXIV. Idmon to Venvs, p. 113. The names 
" Idmon " (in the title) and " Thaumantia " (1. 3) are 
imaginary names, without any reference to the Idmon and 
Thaumantia of mythology. 

XXXVI. His Firebrand, p. 114. Adapted from the 
following piece by Passerat (Poesies francaises, ed. 
Blanchemain, ii. p. 48) : 


VN Amant. 

Retourne-t'en, laquais, retourne Coridon : 

II n'est point de besoin qu'on me vienne conduire, 
Ie suis accompagne du feu de Cupidon, 
Qui la nuict m'esclairant autre feu ne desire. 
Le grand vent & la pluye a ta torche peut nuire, 
Mais moy ie les deffie & ne crains leur effort, 
Car la flame qu'Amour dedans mon coeur fait luire 
Ne se peut amortir que par la seule mort. 

XXXVII Daphnis Vow, p. 114. The names 
" Daphnis " and " Orienne " (1. 8) are feigned names. 

XXXVIII. Of Nisa, p. 115. Among the muddled 
jottings from Peek's lost play The Hunting of Cupid, 
which occur in vol. vii. of the Hawthornden MSS., are the 
following lines, which are undoubtedly the origin of this 
epigram : 

Some with his suethart making false position putting 
A schort sillable vher a long one should be. 

232 NOTES. 

See vol. i. (Oxford, 1907-1911) of the " Collections " of 
the Malone Society. 

u Nisa " is an imaginary name. As for the name 
" Palemon," Drummond probably found it in Sir Philip 
Sidney's Arcadia (bk. ii. ch. 8). 

XXXIX. Beauties Idea, p. 115, 1. 3. White is her 
Haire, etc. : both the edition of 1616 and the one privately 
issued in ?i6i4 read " Haire " in this line. This is obvi- 
ously incorrect ; probably Hand should be read. 

XL. Cratons Death, p. 116. Derived from the 
following epigram by Ronsard, who himself had adopted 
it from Julianus the Egyptian (CEuvres, ed. Marty- 
Laveaux, ii. p. 56) : 

Berteau le pescheur s'est noye 
En sa nacelle poissonniere, 
Dont le bois fut tout employ^ 
A faire les aiz de sa biere : 
De Charon la main nautonniere 
Ne prist argent de ce Berteau, 
Comme ayant pass£ la Huiere 
Des morts en son propre bateau. 

1. 7. Waftage : conveyance or transportation through 
or over a buoyant medium, as air or water ; especially 
(as here) " passage by water." 

XLI. Armelins Epitaph, p. 116. With this may be 
compared Passerat's " Epitaphe du Barbichon de Madame 
de Villeroy " (Poesies frangaises, ed. Blanchemain, ii. 
p. 126). 

1. 7. bare : this is the usual form of the past tense of 
to bear, till the end of the sixteenth century. Cf. vol. ii. 
p. 51, 1. 40. 

XLII. The Statue of Venvs sleeping, p. 117. 
From Les Touches .(1585) of Tabourot, or Le Seigneur des 
Accords as he preferred to style himself, a collection of 
epigrams of no great value : 

NOTES. 233 


Passant ne sois point curieux 

De m'esueiller pour voir mes yeux, 
Car si tost qu'ils regarderont 
Si tost les tiens ils fermeront. 
It may be mentioned that this epigram of Tabourot 
is copied out in Drummond's commonplace-book (Haw- 
thornden MSS. vol. vii.). 

Drummond has a more faithful rendering of this 
epigram among the pieces which he suppressed from the 
advance issue of the Poems (?i6i4). See vol. ii. p. 154. 

XLIII. Lillas Prayer, p. 117. Adapted from Madrigal 
cix of Guarini {Rime, 1598, p. ii2 b ) : 

Se vuoi ch' io torni a le tue fiamme, Amore, 
Non far idolo il core 
Ne di fredda vecchiezza, 
Ne d' incostante, e pazza giouanezza. 
Dammi, se puoi, Signore, 
Cor saggio in bel sernbiante, 
Canuto amore in non canuto amante. 

XLIV. The vnkindnesse of Rora, p. 118. Rora, or 
rather Aurora, to give her her full name, is the Countess of 
Argyle, whom William Alexander of Menstrie celebrated in 
his Aurora, containing the First Fancies of the Author's 
youth (1604), a collection of sonnets interspersed with 
songs, madrigals, and elegies. These early amatory poems 
were not included by Alexander in his collected Recreations 
with the Muses (1637). An additional aid to identification 
is the name " Alexis," which, it may be recalled, is the 
appellation habitually given by Drummond in his poetry 
to his fellow-bard Alexander of Menstrie. 

XL VI. To Thavmantia, p. 119. Transmuted from 
part of a sonnet by Torquato Tasso (Delle Rime et Prose, 
Venetia, 1583, p. 62) : 

Viviamo, amiamci, 6 mia gradita Hielle, 
Hedra sia tu, che il caro tronco abbraccia, 
Baciamci, e i baci, e le lusinghe taccia 
Chi non ardisce annouerar le stelle. 
VOL. 1 Q 

234 NOTES. 

Bacinsi insieme 1' alme nostre anch' elle, 
Fabro sia Amor, che le distempri, e sfaccia, 
E che di due confuse vna rifaccia, 
Che per vn spirto sol spiri, e fauelle, etc. 

The ultimate source is of course Catullus, but a com- 
parison of the phraseology can leave no doubt who was 
Drummond's immediate model. 

LI. The Statue of Adonis, p. 121. Translated from 
the following epigram by Giovanni Antonio Volpi 
(Delitice Poet. Hal. vol. ii. pp. 1452-3) : 

In Statuam Adonidis. 

Cum Cytherea procul Parium spectaret Adonim, 

Accurrens tales fudit ab ore sonos : 
Quis deploratum nobis te reddit, Adoni ? 

Quaeve tibi lucem fata dedere novam ? 
Dixit, ed ad caros amplexus laeta cucurrit, 

Figeret ut niveis oscula pressa genis. 
Ast aprum aspiciens, nova vulnera dente minantem, 

Semianimis trepido concidit icta metu. 
Vivere quis neget hos lapides ? si incendit Adonis 

Corda Deas formi, vulnere terret aper. 

1. 2. This Parian Adon : the island of Paros in the 
Aegean Sea was celebrated on account of its marble, which 
was extensively used by the ancient sculptors. 

LIII. A Couplet encomiasticke, p. 121. Drummond 
found the original of this distich in the Recherches de la 
France (bk. vii. ch. xi.) of Estienne Pasquier, who, dis- 
cussing the question of quantitative verse in French, 
writes as follows : " Je ne dispute point si la forme des 
vers latins avec pieds longs et cours est meilleure que nos 
rimes : ce que j'entends maintenant deduire est de savoir 
si notre langue francoise en est capable. Quant a cela, il 
n'en faut point faire de doute ; mais je souhaite que 
quiconque Fentreprendra soit plus ne a la poesie, que celui 
qui de notre temps s'en voulut dire le maistre [an allusion 
to Baif]. Cela a este autrefois attente par les nostres, et 
peut-estre non mal a propos. Le premier qui Fentreprit 

NOTES. 235 

fut Etienne Jodelle, en ce distique qu'il mit, en Tan 1553, 
sur les oeuvres poetiques d' Olivier de Magny : 

Phoebus, Amour, Cypris, veut sauver, nourrir et orner 
Ton vers et chef, d'ombre, de flamme, de fleurs." 

This couplet is in so-called " vers rapport es," for which 
see the note (vol. i. p. 223) on the fourth sonnet of Vrania. 

LV. The Rose, p. 122. Translated from the following 
madrigal by Torquato Tasso (Delle Rime et Prose, 1583, 
pt. ii. p. 51) : 

O del sangue d' Adone 

Nato nor, quando vn' altro ancor de 1' acque 

Lagrimose di Venere ne nacque, 

II bel morto Garzone 

Tu viuo rappresente, 

Ma la Spina pungente, 

Che cinge il giro tuo purpureo, e vago 

Di chi diremo imago ? 

Forse figura del Cinghial il dente, 

O bel mostro tra mostri, 

Ch' in vn 1' vcciso, & V uccisor dimostri ? 

11. i-3- 

Flowre^ which of Adons Blood 

Sprang^ when of that clear e Flood 

Which Venus wept^ an other white was borne — 

According to Bion {Idyll i.) from the blood of Adonis 
sprang the rose, and the anemone from the tears shed by 
Venus upon his death. 

1. 4. The sweet Cynarean Youth : Adonis, so called 
from his father Cinyras. Drummond should have written 
" Cinyrean." 

1. 9. vnesteemed : " inestimable.' ' 

LVII. Thais Metamorphose, p. 123, 1. 1. In 
Briareus hudge : Briareus or Aegaeon, son of Uranus by 
Gaea. Aegaeon and his two brothers are known under 
the name of the Uranids, who in Hesiod are described as 
three giants, each with a hundred arms and fifty hands. 

LVIII. Vpon a Baye Tree, etc., p. 123, 1. 6. A 

236 NOTES. 

Delian Tree : a " bay " tree. Among plants, the bay, used 
for purposes of expiation, was early sacred to Apollo of 

LIX. Epitaph, p. 124. Imitated from Passerat 
(Poesies frangaises, ed. Blanchemain, ii. p. 118) : 
Epitaphe dVn President. 
Passant ne sonne mot : icy dort maintenant 

Quelcun qui fut iadis trop esueill6 pour prendre. 
Ie croirois ais£ment que ce fut en prenant 
Que la mort qui prent tout le prist a iamais rendre. 
Ce preneur ainsi pris s'en va deuenir cendre : 

Et ie treuue vn grand cas que tant viure il a pu : 
A ce que ses faueurs ont par tout fait entendre, 
Plus de trente ans y a qu'il estoit corrompu. 

1. 2. Alecto : one of the Furies or Eumenides. 

LX. Floras Flowre, p. 124, 1. 8. one Letter tumes it 
P : Pillie, a Scots and Northern dialect word for the male 

LXII. Kalas Complaint, p. 125. From a Latin 
epigram by P. Zanchi (Delitice Poet. Ital. vol. ii. p. 1481) : 
Thestylis annosi coniux laciua Lycotae, 

Dum mane, aut sero vespere mulget oues : 
Sic, ait, infelix noctes exerceor omnes ; 
Dum languet vetulo pendula verpa meo. 

Compare also one of Desportes' epigrams (CEuvres, ed. 
Michiels, p. 443). 

LXIII. The Happinesse of a Flea, p. 125. Imitated 
from Torquato Tasso (Rime, Venetia, 1608, pt. iv. p. 
104) : 

Questa lieve zenzara 

Quanto ha sorte migliore 

De la farfalla, che s' infiamma, e more 

L' una di chiaro foco, 

Di gentil sangue e vaga 

L' altra, che vive di si bella piaga. 

O fortunato loco 

Tra '1 mento, e '1 casto petto, 

Altrove non fu mai maggior diletto. 

NOTES. 237 

LXIV. Of that same, p. 125. Also taken from 
a madrigal by Tasso (ibid. pt. iv. p. 104) : 

Tu moristi in quel seno, 
Piccioletta zenzara, 
Dov' e si gran fortuna il venir meno. 

8uando fin piu beato, 
ver tomba piu cara, 
Fu mai concesso da benigno fato ? 
Felice tu, felice 
Piu che nel rogo oriental Fenice ! 

LXVI. Love naked, p. 126. A version of this trifle 
by Crawshaw, which is appended, shows that it is taken 
from the Italian. We have not, however, succeeded, any 
more than Ward, in discovering the original : 

Out of the Italian. 

Would any one the true cause find 

How Love came nak'd, a boy, and blind ? 

'Tis this : list'ning one day too long 

To th' Syrens in my mistress' song, 

The ecstasy of a delight 

So much o'er-mast'ring all his might, 

To that one sense made all else thrall, 

And so he lost his clothes, eyes, heart and all. 

LXVII. Niobe, p. 126. Translated from Bernardo 
Accolti (Rime di diver si Autori, Venetia, 1550) : 

Niobe son, legga mia sorte dura 

Chi miser e, e non chi mai si dolse. 
Sette, e sette figliuoi mi die natura, 
E sette, e sette un giorno sol mi tolse. 
Poi fu al marmo il marmo sepoltura, 
Perche '1 Ciel me regina in pietra volse ; 
E se non credi, apri '1 sepolcro basso, 
Cener non troverai, ma sasso in sasso. 

1. 1. Wretched Niobe I am : Niobe, the daughter of 
Tantalus and Dione, in maternal pride for her numerous 
progeny, ventured to compare herself to Leto, the wife of 
Zeus, who had only two children. To punish this pre- 
sumption Apollo and Artemis slew with their arrows all 

238 NOTES. 

Niobe's children, in their parents' palace. Niobe, who 
was changed to stone on the lonely hills of Sipylus, cannot 
even in this form forget her sorrow (Ovid, Metam. vi. 3). 

1. 6. Orb'd Mother : the word " orbed " meaning 
" bereaved " (Lat. orbare) is now obsolete. Orb (Lat. 
orbus, O.F. orbe) is also found in the seventeenth century. 

LXVIII. Change of Loue, p. 127, 11. 1 and 3. grone : 
one : a correct rhyme, the value of the rhyme- vowel being 
in each word [o]. Cf. mone : one (i. p. 130, lxxv, 11. 6-7), 
Throne : on (ii. p. 50, 11. n-12). 

LXX. Constant Loue, p. 127. Probably suggested 
by a poem in Thomas Watson's The ^KaTOfxiraOia, or 
Passionate Century of Love (1582), which Drummond found 
in Davison's Poetical Rhapsody, one of his favourite books, 
judging by the lengthy extracts which he copied down 
from it in his commonplace-book {Poetical Rhapsody, ed. 
A. H. Bullen, ii. p. 23) : 

Time wasteth years, and months, and days, and hours ; 
Time doth consume fame, riches, wit, and strength ; 
Time kills the greenest herbs, and sweetest flowers ; 
Time wears out youth, and beauty's pride at length ; 
Time maketh every tree to die and rot ; 
Time turneth oft our pleasures into pain ; 
Time causeth wars and wrongs to be forgot ; 
Time clears the sky that first hung full of rain ; 
Time brings to nought the mightiest prince's state ; 
Time brings a flood from new resolved snow ; 
Time calms the sea, where tempests roared late ; 
Time eats whatsoe'er the moon doth see below : 

Yet shall no time upon my heart prevail 

Nor any time shall make my love to fail. 

LXXI. To Chloris, p. 128. Suggested by the open- 
ing lines of one of Marino's sonnets (Rime, 1602, pt. i. 
p. 88) : 

Ascolta, come freme, e quai minaccia 

Pruine, o Thirsi il Ciel turbato, e '1 vento : 
Stringimi oime, ch' io tremo, e '1 mio spauento 
Refugio altro non ha, che le tue braccia. 

NOTES. 239 

1. 7. Deucalions Dayes : the days of the Flood. For the 
story of Deucalion and Pyrrha see note to 1. 3, Sonnet 
xxi, vol. i. p. 186. 

LXXII. Vpon a Povrtrait, p. 128. The three follow- 
ing pieces, and the present one also, refer to Jean, daughter 
of Robert Ker, first Earl of Roxburgh, and wife of John 
Drummond, second Earl of Perth. 

Drummond is indebted to a sonnet by Marino {Rime, 
1602, pt. i. p. 205) which begins : 

La Dea, che 'n Cipro, e 'n Amathunta impera, 
Quando, 6 doue a te Fidia ignuda apparse ? 
Forse quando V Egeo, che d* Amor n' arse, 
Solco nascente in su la conca altera ? 
O pur' allhor, che da la terza spera 
Al Troiano pastor uenne a mostrarse ? 

1. 1. Amathus : an ancient town on the south coast of 
Cyprus, containing a celebrated temple of Aphrodite. 

I. 2. Tramells : " nets for binding up or confining the 
hair." Cp. Spenser, Faerie Queene, 11. ii. 15 : 

Her golden lockes she roundly did uptye 
In breaded tramels. 

II. 6-7. Trees : Guise : this would seem to be a correct 
rhyme ; [geiz] was the more common pronunciation of 
guise, but the pronunciation [giz] also existed, and is that 
recorded by Bullokar (1580). 

LXXIII. Vpon that same, p. 129, 11. 10-11. 

the blushing Morne 
The Red must lend^ the milkie-JVay the White. 

Compare Marino (Rime, pt. i. p. 202) : 

L' ostro schietto al' Aurora, il latte tolse 
Al bel calle stellato, e '1 santo uiso, 
E la beata fronte ornar ne uolse. 

LXXIV. Vpon that same, drawne with a Pansie, 

p. 130, 1. 11. Clytias Plight : Clytia, an ocean nymph, 
was beloved by the Sun-god, who deserted her. She was 
subsequently changed into the heliotrope which is sup- 

2 4 o NOTES. 

posed always to turn its head in the direction of the sun's 
movement. Cp. note to Song i, vol. i. 1. 55, p. 171. 

LXXVI. Thirsis in Dispraise of Beautie, p. 131. 
These strophes in ottava rima are translated from Torquato 
Tasso's Stanze, entitled " Sopra la Bellezza " (Delle Rime 
et Prose, 1583, pt. ii. p. 70) : 

Questa, che tanto il cieco volgo apprezza, 
Sol piacer de le Donne, e sola cura, 
Caduca, e fragilissima bellezza, 
Vn vil impedimento e di natura. 
Misero amante, cui folle vaghezza, 
Da in preda a un' angelica figura, 
Misero, ch* assai meglio entro a le porte 
De T Inferno placar potria la morte. 

Come in bel prato tra fioretti, e V herba 
Giace souente angue maligno ascoso, 
Come in bel uaso d' or viuanda acerba 
Si cela, od empio succo, e velenoso, 
Come in bel porno spesso anco si serba 
Putrido verme, ond' egli e infetto, e roso, 
Cosi voglie, e pensier maluagi, & opre, 
Sotto vel di bellezza altri ricopre. 

Doue bellezza appar, cortesia parte, 
L' humilta, la pieta, la bonta fugge, 
Dou' e bellezza, come a propria parte, 
Superbia, e ingratitudine rifugge, 
II seme, il fior d' ogni virtu, d' ogni arte, 
L* ombra maluagia di bellezza adhugge, 
Bellezza e mostro infame, e mostro immondo 
Sferza del Ciel, con che flagella il mondo. 

Si come, 6 noce acerba, 6 porno amaro, 
Meglio, ch* altro maturo, e dolce frutto, 
Condir si puote, ed e bramato, e caro, 

8|uando quell' altro e gia guasto, e distrutto : 
osl ne le dolcezze del suo chiaro, 
Nettare Amor meglio condisce il brutto, 
Ch' acerbetto e per se, che non fa il bello 
D' ogni esterno dolcior schiuo, e rubello. 

NOTES. 241 

Sia brutta la mia Donna, & habbia il naso 
Grande, che li facci ombra fino al Men to, 
Sia la sua bocca si capace vaso, 
Che star vi possa ogni gran robba dentro, 
Sian rari i denti, e gli occhi posti a caso, 
D' ebano i denti, e gli occhi sian d' argento, 
E ci6, ch' appare, e cio, che si nasconda, 
A queste degne parti corrisponda. 

Non temero, ch' ella sia d' altri amata, 
Ch' altri la segua, 6 pur, ch' altri la miri : 
Non temero, s' ella alcun' altro guata, 
O se mesta talhor par che sospiri, 
Non chiamerolla ogni hor superba, ingrata, 
E peruersa, e ritrosa a' miei desiri, 
Saranno i suoi pensier conformi a' miei. 
Sara mia tutta, & io tutto di lei. 

These lines are interesting because they not improbably 
supplied Donne with the matter for his second Elegy, 
" Marry and love thy Flavian The resemblance between 
the two pieces had already struck Drummond ; in the 
" Character of Several Authors," appended to the abridg- 
ment of the Conversations with Ben Jonson, in the folio 
edition of his Works (1711), Drummond remarks in refer- 
ence to Donne : "I think, if he would, he might easily be 
the best Epigrammatist we have found in English, of 
which I have not yet seen any come near the Ancients. 
Compare Song : Marry and Love, etc. with Tasso's 
stanzas against beauty ; one shall hardly know who hath 
the best." 

1. 4. Let : " hindrance," " impediment " ; now archaic, 
except in the phrase " let or hindrance." Cf . vol. ii. p. 86, 

1. 592. 

1. 27. confect'd: "prepared for use as a relish or 
delicacy," " preserved " ; now archaic. 

1. 35. Vmbrage : " shade," " shadow." Cf. vol. i. 
Song ii, p. 65, 1. 25. 

LXXVII. Evrymedons Praise of Mira, p. 132, 1. 27. 

So wooden Globes bright Starves to vs set forth — 

242 NOTES. 

Borrowed from Sonnet xci of Astrophel and Stella : 
Models ! Such be wood globes of glistering skies. 

LXXIX. Erycine at the Departure of Alexis, p. 134. 
" Alexis " is Sir William Alexander, the author of the 
following sonnet, entitled " Alexis to Damon." 

LXXX. Alexis to Damon, p. 135, 1. 4. Relicts = 
" relics " : a superfluous t after c, n, p, x is not uncommon 
in Scots. Cp. such forms as comont (" common "), sud- 
dantlie (" suddenly "), prolixt (" prolix "). 

1. 8. registrate : "to register " ; obsolete and chiefly 
Scots. The uninflected past participle, formed direct 
from the Latin past participle, is frequent in Scots, e.g. 
applicat, deliberat, dedicat, etc. Many of these forms are 
still in use in Scots legal and formal language. 


Professor John Purves (Athenceutn, Feb. 11, 1905) 
points out that Drummond probably derived the title of 
Forth Feasting from Marino's Tebro Festante, a congratu- 
latory poem on the election of Pope Leo XL, which appears 
to have been issued for the first time in the Nuove Poesie 
of Marino (1614). Considering the Scottish poet's large 
debt to Marino, this may be readily admitted ; but that 
he borrowed no more than the title is at once obvious to 
anyone who chooses to read the two compositions, which 
bear no resemblance to each other either in form or matter. 

Drummond's panegyric of King James VI. is con- 
structed in great part on the pattern of the opening 
poem of Ronsard's Le Bocage Royal ((Euvres, ed. Marty- 
Laveaux, iii. p. 187), addressed to Henry III. of France ; 
several passages in fact follow the French text at no great 
distance, and generally in a condensed form, as the follow- 
ing example, corresponding to 11. 135-178 in Drummond's 
poem, serves to show : 

NOTES. 243 

A forcer par les bois vn Cerf au front rame, 
Enferrer vn Sanglier de defenses arme, 
Voir leureter le Lieure a la iambe pelug, 
Voir pendre les Faucons au milieu de la nue, 
Faire d'vn pied legier poudroyer les sablons, 
Voir bondir par les prez Penflure des ballons, 
A porter le harnois, a courir la campaigne, 
A domter sous le frein vn beau genet d'Espaigne, 
A saulter, a luitter d'vn bras fort & voute, 
Voila les ferremens trenchants Poisiuete\ 

II a voulu scauoir des Pianettes les dances, 
Tours, aspects & vertus, demeures & distances : 
II a voulu scauoir les cornes du Croissant, 
Comme dVn feu bastard il se va remplissant, 
Second Endymion amoureux de la Lune. 
II a voulu scauoir que c'estoit que Fortune, 
Que c'estoit que Destin, & si les actions 
Des Astres commandoient a nos complexions. 
Puis descendant plus bas sous le second estage 
II a cogneu du Feu la nature volage, 
II a pratique l'Air combien il est subtil, 
Comme il est nourrissier de ce monde fertil, 
Comme il est imprime de formes differentes. 
II a cogneu la Foudre & ses fleches errantes 
DVn grand bruit par le vague, & si le Soleil peint 
L'arc au ciel en substance, ou s'il apparoist feint. 
Puis il a faict passer son esprit sous les ondes, 
A cogneu de Thetis les abysmes profondes, 
Et du vieillard Prot6e a conte les troupeaux : 
II a cogneu le flot & le reflot des eaux : 
Si la Lune a credit sur Pelement humide, 
Ou si Fame de PEau d'elle mesme se guide, 
Eslancant son esprit des terres a l'entour 
Pour ne viure en paresse & cropir en sejour. 
Puis venant sur la terre a visite les villes, 
Les hommes & leurs meurs & leurs reigles ciuilles 
Pour scauoir a son peuple vn soleil esclairer, 
Pour luy lascher la bride ou pour la luy serrer, 
Cognoissant par effect toutes vertus morales. 
Puis entrant sous la terre aux caues infernales 
A cherche les metaux, & d'esprit diligent 
Sceu les mines de plomb, de For & de Pargent, 

244 NOTES. 

Quelle humeur les engendre es veines de la terre, 
Et le cuiure & le fer instrumens de la guerre. 
Puis d'vn si haut trauail se voulant delasser, 
Et dVn braue Laurier son sceptre entrelasser, 
Prenant le Lut en main, que dextrement il guide, 
Se va seul soulager en l'antre Pieride, 
Toutes les fleurs d'Euterpe attachant a son front. 
Apollon qui Pescoute, & les Muses qui vont 
Dansant autour de luy, l'inspirent de leur grace, 
Soit qu'il veille tourner vne chanson d'Horace, 
Soit qu'il veille chanter en accords plus parfaicts 
Les gestes martiaux que luy mesmes a faicts. 

11. 23-24. 

So after Tempest to Sea-tossed Wights 

Faire Helens Brothers show their chearing Lights. 

The reference is to Castor and Pollux, who according to 
Homer were the sons of Leda and Tyndareus, king of 
Lacedaemon, and consequently brothers of Helen. They 
were worshipped more especially as the protectors of 
sailors, for Poseidon had rewarded their brotherly 
love by giving them power over the winds and waves. 
Hence they are called by Horace, " Fratres Helenae, 
lucida sidera." 

1. 29. Seraps Priests : Serapis or Sarapis, an Egyptian 
divinity, whose worship was introduced into Greece in the 
time of the Ptolemies. 

1. 30. Mygdonian Stone : Mygdonia was the name given 
to the N.E. district of Mesopotamia. 

1. 32. Apollos Bird : the snow-white and musical swan. 

u. 34-35. 

And sweet- breath' *d Zephyres curie the Medowes greene : 
Let Heauens weepe Rubies in a crimsin Showre. 

These two lines, borrowed from Passerat, are repeated, 
with one or two variations, from Sonnet ix of Part II. We 
shall again have occasion to notice Drummond's habit of 
repeating himself, a practice which betrays the tenuity 
and limitations of his inspiration. 

NOTES. 245 

11. 37-38. 

Or with that golden Storme the Fields adorne, 

IVhich hue rairid^ when his Blew- eyed Maide was borne — 

a direct reminiscence of Pindar's seventh Olympian ode 
(11. 61 et seq.) , in which it is said that Zeus watered the land 
(Rhodes) with showers of gold when Hephaestus clave 
open the head of Zeus with an axe, on which Pallas 
Athene sprang forth in full armour, the goddess of 
eternal virginity. In the same ode Pindar applies the 
epithet yXavfcnTris, or " blue-eyed/' to Athene. 

1. 46. Strow : an archaic and dialectal form of to strew, 
of which the past is straw (vol. ii. p. 133, ix. 1. 8). 

1. 54. Neuerne : now called " Naver," a river of 
Sutherland ; issues from Loch Naver and flows into 
Torrisdale Bay. 

1. 55. Leaue : the Leven. 

1. 59. Nid : the river Nith. 

1. 61. Lid : now called " Liddel Water." 

1. 62. The Eskes : the Black and White Esk, which 
unite to form the Esk in Eskdalemuir. 

I. 77. Sighs : the regular edition of Forth Feasting 
(1617) has the form " Sights " instead of " sighs." The t 
in sight was not pronounced, and is an example of an 
orthographical mannerism, common in Middle Scots — e.g. 
with', Edinbrugh', etc. The origin of this superfluous 
terminal t will be found explained in G. Gregory Smith's 
Specimens of Middle Scots, Introd. p. 27. Drummond 
uses the form "sights" again in Posthumous Poems IV., 
vol. ii. p. 264, 1. 26. 

II. 81-82. 

Faire Ceres curst our Fields with barren Frosty 
As if againe shee had her Daughter lost — 

The daughter of Ceres was Persephone or Proserpine. 
Jupiter, without the knowledge of Ceres, had promised 
Proserpine to Pluto ; and while the unsuspecting maiden 
was gathering flowers in the fields of Enna, the earth 
suddenly opened and she was carried off to the nether 

246 NOTES. 

world by Pluto (Ovid, Metam. v. 7). After wandering for 
some days in search of her daughter, Ceres learnt from the 
Sun that it was Pluto who had carried her off. There- 
upon she quitted Olympus in anger and dwelt upon earth 
among men, conferring blessings wherever she was kindly 
received, and punishing those who repulsed her. 

1. 89. Napeas : the Napaeae were the Nymphs of 

1. 95. Tithons Wife: cf. note to Song ii, 1. 4, vol. i. p. 194. 

1. 106. Nor Acheloiis with his flowrie Home : Acheloiis 
was the god of the river of that name between Aetolia and 
Acarnania, and father of the Sirens. He fought with 
Hercules for Deianira, but was conquered in the contest. 
He then took the form of a bull, but was again overcome by 
Hercules, who deprived him of one of his horns. Accord- 
ing to Ovid {Metam. ix. 1. 87), the naiads changed the horn 
which Hercules took from Acheloiis into the horn of 

I. 109. desart : this is the usual form in Drummond, 
both for the noun and adjective. Cf. note to 1. 163 of 
Song i, vol. i. p. 175. 

1. in. great Quincys Lake : Kinsai, Kingtse, or 
Quinsay, are the names given by Marco Polo to Hang-chu, 
a large town of China at the mouth of the river Tcheng- 
tang. Some hundred miles from Hang-chu is situated the 
lake of Tai-Hu, or the " large lake," one of the biggest 
lakes of China. It is to this lake apparently that 
Drummond is referring. 

II. 113-114. Repeated, with a slight change, from an 
earlier poem (vol. i. p. 133, 11. 13-14). 

1. 164. To spare the Humble, Prowdlings pester downe : 
a translation of King James's motto : " Parcere subjectis 
et debellare superbos." 

1. 168. the Pierian Groues : the Pierian mountain in 
Macedonia was one of the early seats of the worship of the 

1. 172. Or which did call Euridice againe : the story 

NOTES. 247 

runs that Orpheus, after his return from the Argonautic 
expedition, married the nymph Eurydice. His wife 
having died of the bite of a serpent, he followed her into 
the abodes of Hades. Here the charms of his lyre sus- 
pended the torments of the damned, and won back his 
wife from the nether powers (Ovid, Metam. x. 1 and 2). 

11. 173-174. 

Thou sungst away the Houres, till from their Spheare 
Starr es seerrfd to shoote. Thy Melodie to heare — 

a reminiscence, as Professor Masson points out, of Shake- 
speare's Midsummer Night's Dream (Act ii. Scene 1) : 

And certain stars shot madly from their spheres 

To hear the sea-maid's music. 

I. 183. tows'd : " harassed," " worried." 

II. 201-202. Orion faints, etc. : Orion was the son of 
HyrieuSj of Hyria, in Boeotia, and is described as a hand- 
some giant and hunter. After his death he was placed 
among the stars, where he appears as a giant with a girdle, 
sword, a lion's skin, and a club. 

1. 206. Then = " than." Then in the sense of than 
is frequently found in the sixteenth and seventeenth 

1. 225. Pales : the Italian goddess of shepherds. 

1. 234. Gaditan : of or belonging to Gades or Cadiz. 

1. 261. Astrea : cf. note to 1. 1, Mad. hi, vol. i. p. 225. 

1. 263. the Saturnian World : the reign of Saturn was 
regarded as the golden age of Italy. 

1. 279. Hyperion : one of the Titans, father of the Sun- 
god Helios, who himself is also called Hyperion in Homer. 

1. 282. That Rhein with hence-brought Beams his bosome 
warmes : Elizabeth, eldest daughter of James VI., born 
at Falkland (August 1596), was married in 1613 to 
Frederick V., Elector Palatine, who in 1619 was chosen to 
fill the throne of Bohemia. 

1. 319. If Gray-hair'd Proteus Songs the Truth not 
misse : according to Homer (Od. iv. 354-569) an old man 
of the sea, a subject of Poseidon. Like all marine deities, 

248 NOTES. 

he possessed the gift of prophecy, and the power of assum- 
ing any shape he pleased. 

11. 321-323. There is a Land . . . Which (Homelings) 
from this litle World wee name. Ward (i. 245) is 
probably right in seeing here an allusion to the Colony 
of New Scotland. 

1. 330. song: a form found occasionally in the sixteenth 
century, and which occurs in some dialects of M.E. by 
the side of sang, as also in O.E. Cf. vol. ii. p. 273, 1. 1. 

1. 346. Then turnes to drie the weeping Austers Teares : 
Auster was the name given to the South wind, or strictly 
the South-west wind. It frequently brought with it fogs 
and rain. 

1. 356. Fremdling : " foreigner/' derived from the 
adjective fremd, "foreign," which is now obsolete, except 
in Scots and certain Northern dialects. 

1. 361. like Ledas Louer white : according to a late 
story, Zeus approached Leda in the shape of a swan, and 
she brought forth two eggs, out of one of which sprang 
Helen, and out of the other Castor and Pollux. 

1. 362. Which yet might breede Pasiphae Delight : 
Pasiphae, wife of Minos, became enamoured of the white 
bull presented by Poseidon to Minos, and thereby became 
the mother of the monstrous Minotaur. 

1. 371. Paniskes : the Panisci were a species of imps 
of the forests, companions of Pan. Here the word is 
equivalent to " rural divinities/' " fauns." 

1. 375. Serean Fleeces : Seres, a country in the extreme 
east of Asia, was more famous for its silks than for its 
wools. Cp. vol. ii. p. 34, 1. 39. 

1. 378. Sabcean Odours : the Sabaei or Sabae were a 
people who, according to Ptolemy, inhabited the S.W. 
corner of the Arabian peninsula. Their country was 
famed for its spices and perfumes. 


A Dedale of my Death 

A Horse I am, whom Bit .... 

A passing Glance, a Lightning long the Skies . 
Ah burning Thoughts now let me take some Rest 
Ah Napkin, ominous Present of my Deare 

Ah ! of that cruell Bee 

Ah ! who can see those Fruites of Paradise 
Alexis, here shee stay'd among these Pines 
All other Beauties how so e're they shine . 
All that a Dog could haue .... 
Amidst the Waues profound .... 
And wilt thou then, Alexis mine, depart ? . 
And would yee (Louers) know .... 
Are these the rlowrie Bankes ? is this the Mead 
As an audacious Knight ..... 
As in a duskie and tempestuous Night 
Astrea in this Time ..... 

Breake not my sweet Repose . . . 
Bright Meteore of Day 















Come forth, come forth, yee blest triumphing Bands 88 
Come, let us Hue, and loue . . . . .119 

Dametas dream'd he saw his Wife at Sport . . 106 

Deare Eye which daign'st on this sad Monument . 29 

Deare Night, the Ease of Care .... 60 

Deare Quirister, who from those Shaddowes sends . 26 

Deare Wood, and you sweet solitarie Place . . 38 

Faire Diane, from the Hight 133 

Faire is my Yoke, though grieuous bee my Paines . 5 

VOL. I 249 R 



Faire Moone who with thy Cold and Siluer Shine 
Faire Paphos wanton Queene .... 
Fame, who with golden Pennes abroad dost range 
Flouds cannot quench my Flames, ah ! in this Well 
Flowre, which of Adons Blood 

Gemme of the Mountaines, Glorie of our Plaines 
Great God, whom wee with humble Thoughts adore 

Haire, precious Haire which Midas Hand did straine 

Harke happie Louers, harke 

Here Damon liv'd, a Man by Heav'n inspir'd 

Here deare Iolas lies .... 

Here lived that Poet, whose Immortal Name 

Here Mighty Damon often sat 

He who endeavours Damon's Worth to raise 

How Happier is that Flea 

How many times Nights silent Queene her Face 

How that vaste Heauen intitled First is rold 

I curse the Night, yet doth from Day mee hide 
I feare not hencefoorth Death .... 

I know that all beneath the Moone decayes 

I never rested on the Muses bed 

If (Acidalias Queene) ..... 

If all but Yce thou bee . . . . 

If crost with all Mis-haps bee my poore Life 
If cruell Death had Eares .... 

If for one only Home ..... 

If Heauen, the Starres, and Nature, did her grace 

If, in this Storme of joy and pompous Throng . 

If Sight bee not beguilde ? 

If thou wouldst see Threedes purer than the Gold 

If with such passing Beautie, choise Delights 

In a most holy Church, a holy Man . 

In Briareus hudge ...... 

In Fields Ribaldo stray'd .... 

In midst of silent Night 

In Minds pure Glasse when I my selfe behold . 
In my first Yeeres, and Prime yet not at Hight 

In Peticote of Greene 

In vaine I haunt the colde and siluer Springs . 
In Waues of Woe thy Sighes my Soule doe tosse 
























cii, 74 



Is it not too too much ...... 109 

Is't not enough (aye mee) mee thus to see . . 36 

It Autumne was, and on our Hemispheare . . 65 

It was the time when to our Northerne Pole . . 9 

Kala old Mopsus Wife . . . . . .125 

Lampe of Heauens Christall Hall that brings the Hours 8 
Leaue Page that slender Torch . . . .114 

Let Fortune triumph now, and 16 sing ... 30 

Like the Idalian Queene . . . . . . 25 

Loue, Cypris, Phoebus, will feede, decke, and crowne 121 
Loue, if thou wilt once more . . . . .117 

Loue which is heere, a Care ..... 89 

Mine Eyes, dissolue your Globes in brinie Streames . 53 

My Lute, bee as thou wast when thou didst grow . 60 

My Teares may well Numidian Lions tame . . 24 

My Thoughts hold mortall Strife .... 64 

My Wanton, weepe no more ..... 103 

Neare to this Eglantine 116 

Nisa Palemons Wife him weeping told . . .115 

Nor Arne, nor Mincius, nor stately Tyber . . 20 

Now while the Night her sable Vaile hath spred . 7 
Nymphes, Sister Nymphes which haunt this christall 

Brooke ........ 24 

O cruell Beautie, Meekenesse inhumaine . . . 31 

O doe not kill that Bee 113 

O Fate ! conspir'd to powre your Worst on mee . 52 

O Heauens ! then is it true that Thou art gone . 75 

O ! It is not to mee bright Lampe of Day . . 55 

O Night, cleare Night, O darke and gloomie Day ! . 42 

O Sacred Blush impurpling Cheekes pure Skies . . 19 

O Sight ! too dearely bought . 105 

O Woefull Life ! Life, no, but liuing Death . . 53 

Of Cithereas Birds that milke-white paire ... 34 

Of Death some tell, some of the cruell Paine . . 47 

Of Jet 84 

Of mortall Glorie 6 soone darkned Raye ! . . 51 

Of that Medusa strange ...... 99 

Old Oake, and you thicke Groue . . . .121 



Once did I weepe, and grone ... 
On Starres shall I exclame .... 
On this colde World of Ours .... 
Ouer a christall Source ..... 

Phoebus arise ....... 

Place mee where angry Titan burnes the More . 

Poore Flea, then thou didst die 

Poore Painter, whilst I sought 

Poore Turtle, thou bemones .... 

Quaesivit Latio Buchananus carmine Laudem 

Sad Damon beeing come ..... 

See Chloris, how the Cloudes .... 

Shee whose faire flowrs no Autumne makes decay 

Sith gone is my Delight and only Pleasure 

Sith it hath pleas'd that First and onlie Faire . 

Sith shee will not that I . 

Sleepe, Silence Child, sweet Father of soft Rest 

Slide soft faire Forth, and make a christall Plaine 

So grieuous is my Paine, so painefull Life 

Some, Ladies wed, some loue, and some adore them 

Some will not leave that Trust to Friend, nor Heire 

Soule, which to Hell wast thrall 

Sound hoarse sad Lute, true Witnesse of my Woe 

Stay Passenger, see where enclosed lyes 

Such Lida is that who Her sees 

Swanne which so sweetly sings 

Sweet Brooke, in whose cleare Christall I mine Eyes 

Sweete Rose whence is this Hue 

Sweet Soule, which in the Aprill of thy Yeares . 

Sweet Spring, thou turn'st with all thy goodlie Traine 

That I so slenderly set foorth my Minde . 
That learned Graecian (who did so excell . 
That which so much the doating World doth prise 
The Beautie, and the Life .... 
The Goddesse that in Amathus doth raigne 
The Heauen doth not containe so many Starres. 
The Hyperborean Hills, Ceraunus Snow 
The Iuorie, Corrall, Gold .... 

The Kisse with so much Strife 




The lonely Lysis, whom a froward Fate . . . cviii 
The Loue Alexis did to Damon beare . . . 135 
Then Death thee hath beguild . . . . .124 
Then is Shee gone ? O Foole and Coward I ! . 25 

The sister Nymphes who haunt the Thespian Springs cii, 95 
The Sunne is faire when hee with crimson Crowne . 34 
This deare (though not respected) Earth doth hold . 119 
This Life which seemes so faire . ... . 54 

This virgine Locke of Haire . . . . .118 
Those Eyes, deare Eyes, bee Spheares . . . 104 
Those Eyes, those sparkling Saphires of Delight . 52 

Those Starres, nay Sunnes, which turne . . . 100 
Those Stones which once had Trust . . . .123 

Though I with strange Desire 106 

Thou Window, once which serued for a Spheare . 40 

Thrise happie hee, who by some shadie Groue . . 90 
Thy Muse not-able, full, il-lustred Rimes . . . 121 
Time makes great States decay . . . .127 

To forge to mightie loue 120 

To heare my Plaints faire Riuer Christalline . . 20 
Too long I follow'd haue my fond Desire ... 87 
To praise these Poems well, there doth require . . ciii 
To spreade the azure Canopie of Heauen . . 8y 

To the delightfull Greene . 22 

Tritons, which bounding diue ..... 47 
Triumphing Chariots, Statues, Crownes of Bayes . 86 
Trust not sweet Soule those curled Waues of Gold . 27 

Vnhappie Light 

Vaunt not, faire Heauens, of your two glorious Lights 
Venus doth loue the Rose ..... 

What blustring Noise now interrupts my Sleepe ? 
What cruell Starre into this World mee brought ? 
What doth it serue to see Sunnes burning Face ? 
What haplesse Hap had I now to bee borne 
What others at their Eare .... 
What semes it to bee good ? Goodnesse by thee 
When as shee smiles I finde .... 
When first the Canon from her gaping Throte . 
When her deare Bosome clips .... 
When Nature now had wonderfully wrought 









When Sunne doth bring the Day 

When Venus longst that Plaine 

When with braue Arte the curious Painter drew 

While thou dost praise the Roses, Lilies, Gold 

Whilst sighing forth his Wrongs 

Whilst with audacious Wings . 

Who hath not seene into her saffron Bed . 

Who Lina weddeth, shall most happie bee 

Whom raging Dog doth bite 

Who would Perfections faire Idea see 

Why (Worldlings) doe ye trust fraile Honours Dreames 

With flaming Homes the Bull now brings the Yeare 

With Griefe in Heart, and Teares in sowning Eyes 

World, wonder not that I 

Wretched Niobe I am ..... 

Yee who so curiously doe paint your Thoughts . 
You restlesse Seas, appease your roaring Waues 



ci, 1 






Printed by R. & R. Clark, Limited, Edinburgh.